Moderna Museet | Stockholm

“Wounds: Between Democracy and Redemption in Contemporary Art” opened by dramatically juxtaposing images of decapitated heads and anatomical fragments by Théodore Géricault with Edvard Munch’s 1907 canvas The Death of Marat II. In the same room, Gerhard Richter’s Two Candles, 1983, accompanied Andy Warhol’s 1963 car crashes and Francis Bacon’s Double Portrait of Lucian Freud and Frank Auerbach, 1964. Viewers then passed through a door surrounded by Ian Hamilton Finlay’s Four Guillotine Blades, 1987, to encounter Malcolm Morley’s long horizontal work New York City Postcard, 1971, an enormous installation by Christian Boltanski, and a political painting by the late Dick Bengtsson (one of the few Swedes in this ambitious survey show). These two rooms gestured toward sketching a suggestive revisionist history linking early Modernism to art of the ’60s and ’70s. Bacon, Richter, and Warhol all

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