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Greil Marcus

Left: Master of Buafle, gu (beautiful woman) mask, southern Guro region (Ivory Coast), nineteenth century. Right: Bo nun amuin (bush gods) helmet mask, Baule region (Ivory Coast), early twentieth century.

THREE AMBITIOUS EXHIBITIONS and their equally ambitious catalogues (all published by Scheidegger & Spiess) appeared in Europe and New York in this centenary year of Dada—along with a little companion publication from just before. One stood out because it brought the usual sprawling cast of characters into sharp focus and unexpected conversations: “Dada Africa: Dialogue with the Other” at the Museum Rietberg, Zurich, and the Berlinische Galerie. Not that that cast isn’t all over the rest: “Dadaglobe Reconstructed” (at the Kunsthaus Zürich and the Museum of Modern Art, New York), “Genesis Dada: 100 Years of Dada Zurich” (at the Arp Museum Bahnhof Rolandseck in Remagen, Germany), and Dada Hand Book, which was based on the exhibition “Dada in Nuce” at the Cabaret Voltaire, Zurich. All over, and today scattered in pieces. As I write, the New York Times reports on tours of the

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