Until recently, the art scene in the West has been fairly indifferent to work from Central and Eastern Europe. A few artists have made names for themselves internationally, but for many years any analysis or art-historical interpretation of work from these regions has been carried out in a very piecemeal fashion. Now cultural theorists, curators, gallerists, and the artists themselves are engaging in a more critical discourse, and the entry of several Eastern European countries into the EU has facilitated communication. For the exhibition “Cluj Connection,” the British art critic Jane Neal

“Recently I visited a bordello for the first time. Well, actually it was an erotic massage parlor. That’s naturally beneath me. I don’t need anything like that.” A middle-aged man is troubled by moral misgivings as he goes to a brothel for the first time in his life. Wearing a trench coat and a hat, he worries that someone will see him; on the stairs, he meets his neighbor, who immediately asks: “What’s happening here? Are you going to the bordello?” Like the four films of the same title that preceded it, Jochen Kuhn’s fourteen-minute Neulich 5 (Recently 5), 2004, is a brief, absurd observation