This exhibition of new works by Rosemarie Trockel constitutes a virtually unified scenic entity. Film, sculpture, drawing, and painting, as well as objects, are fused here into a coherent mental and visual grid. In a very broad sense, these grids address the concepts of sacrifice, femininity, and dissidence, but internally, the grids also contain smaller units of dialogue. In a gallery devoted to showing the work of painters like Georg Baselitz, Markus Lüpertz, and A. R. Penck, Trockel’s works undermine the usual program. She approaches painting from the outside; for her, the painter’s tool is

Do images register in our minds more readily than words? How do verbal and visual memories relate to each other? How can the expertise of a professional mnemonician help us to see and perceive? Dominique Gonzalez-Foerster’s work does not only approach such issues with respect to the viewing of art; her work directly embodies those operations. Entitled “The Mind of a Mnemonician,” this show attacked the usual modes of perception, such as the application of methods from other fields—psychoanalysis, philosophy, and sociology. The exhibition is a memory of memory experiments undertaken in the 1920s