Born in Germany in 1963, Markus Hansen belongs to a generation of artists still coming to grips with the trauma of their country’s Nazi past. While he has often looked to the history and symbols of his fatherland as fodder for his art, in his recent two shows, autonomous yet complementary vignettes, Hansen established a radical position for himself vis-à-vis his generation’s demanding, often suspicious relationship with the past. (Although not formally affiliated, Hansen’s concurrent installation at Gilles Peyroulet, Dürer’s Pillows, 1996–98, three-dimensional re-creations of the old master’s