Curated by Anette Hüsch and Angela Schneider

Jörg Immendorff, long considered Germany’s foremost political artist, has designed a playful architectural complex—a freestanding wall and six pavilions, connected by walkways, all painted stoplight red—for the upper gallery of Mies’s glass museum. The installation conceptually references Immendorff’s Lidl village of the late ’60s, a kind of Fluxus commune conceived when he was an anti-art art student of Joseph Beuys. But this new “red city,” with its emblematic detached wall, doubtless refers to the failed dream of an all-red unified Germany. Each pavilion displays a different theme in Immendorff’s art, including “Lidl,” 1968–70, and his masterpiece, the “Café Deutschland” paintings, an allegory of art and politics architecturally united.

— Arthur C. Danto