Repeat after me: Erase and rewind.

That’s Sturtevant, the short version.

A longer version—on view at the Museum für Moderne Kunst, brilliantly curated by MMK director Udo Kittelmann and curator Mario Kramer—managed not to be a retrospective (Sturtevant’s got zero tolerance for retro spectacles) or a historical show prioritizing her foundational work from 1965 to 1974. Instead, what could be seen (for the first time?) was the deep continuity of four decades of her thinking—its action, its power and beauty—given space (the entire museum, from which even the permanent collection was removed) and time.

Born in Lakewood, Ohio, in 1926, Sturtevant made her solo debut in New York at the Bianchini Gallery in 1965. Her seismic activity continued in New York and Paris, culminating in a landmark show at Syracuse’s Everson Museum of Art in 1973 and her “Beuys” show in New York the following year. She

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