Berlin

Jeff Koons

Deutsche Guggenheim

When I saw Jeff Koons’s new paintings, my initial thoughts turned to their presentation—the timing couldn’t have been better. These painted collages—exhibited to great effect, thanks to their billboard format, in the claustrophobic spaces of the Deutsche Guggenheim—fitted perfectly into a range of issues, from the ongoing visual-culture debate to the revival of photorealist painting. In addition, they implicitly demanded an engagement with the potential of so-called appropriation art of the ’80s, a potential that has so far been undervalued. In this connection, it is interesting to note that the series on view, “Easyfun,” is part of the “Celebration” group that was in fact years overdue. All one heard of Koons involved financial woes and postponed exhibitions. Now it is clear that the delay paid off—and not just in terms of raised expectations.

Given the vigor of these

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