It is always interesting to observe an artist who is recognized in one arena while struggling in another with an almost more brilliant insouciance. In Arnold Schönberg’s case, the struggle produced a considerable number of interesting paintings: fascinating/failed paintings of bizarre curiosity. Do we need yet another painter who produced scurrilous portraits and pensive landscapes in the first days of Modernism? Take for example the often-reproduced Der rote Blick (The red eye, 1910), half August Strindberg, half Goya-remake, simultaneously self-portrait and an example of symbolism. Here

The walls are empty; in this show the action is on the floor. With about twenty carpets of differing sizes and motifs, the mood is one of peaceful contemplation, much like the atmosphere of a mosque. In felt slippers, the visitor may walk over the carpets in quiet reflection, experiencing the works on display in a direct, bodily way. Collected here are such diverse artists as Rosemarie Trockel, David Robbins, Walter Dahn, Rob Scholte, Guillaume Bijl, and Felix Gonzalez-Torres. Yet the commonality of medium does not transcend the forced adjacency of images with their different motifs, patterns,