How can art, as the intersection of the individual and society, bring about change? This question was posed by an exhibition of work by Eugen Schönebeck who stopped exhibiting in the mid ’60s, and had ceased to make art altogether by 1966. The 50 drawings on view here, which had never before been publicly shown, were all done between 1960 and 1964, the period of his friendship with Georg Baselitz. At that time Schönebeck and Baselitz cultivated the role of the artist as radical, antibourgeois outsider. In their two famous “Pandämonische Manifeste” (Pandemonic manifestos, 1963) they sketched an