The private correspondence of Rosa Luxemburg lies at the heart of Pia Rönicke’s Rosa’s Letters—Telling a Story, 2006. Yet telling the story of this complex multimedia installation might prove more challenging than narrating the life of Luxemburg, the Marxist leader who was often imprisoned for her political activities and then murdered by Freicorps militia in Berlin in 1919. While alluding to the official public history, Rönicke restaged her own subjective “appropriation” of letters that Luxemburg wrote to her lovers and friends between 1891 and 1918. Instead of one story, there are two: the

For many years, Matthias Herrmann was able to keep his two jobs entirely separate: He is an artist who specializes in self-portraits as well as president of the artists’ association the Vienna Secession. But when Eva Schlegel invited him to photograph her exhibition in the main hall of the Secession in 2005, he saw an opportunity to mix things up a little. The figure Herrmann cut on the stage of this first white cube of modernism is that of a conceptual photo artist undaunted by even the most extravagant corporality. Schlegel had covered the walls with lead, adding circular mirror units on the