“The PLACE is a sudden gap in the utilitarian approach to the world,” declared the founders of Galeria Foksal in a manifesto in 1967. In her new exhibition, “Double,” Diana Fiedler returned to that utopian statement by covertly acknowledging the gallery’s specific history—an institution devoted to international tendencies in contemporary art such as neo-Constructivism, Minimalism, and Conceptual art. The gallery (not to be confused with its conflicted offspring, the Foksal Foundation) is unique in Eastern Europe for having continued in almost uninterrupted operation for more than forty years as

Recent reassessments of the legacy of Eastern and Central European neo-avant-gardes coincide with a renewed public interest in the period around 1968. Good timing, then, for “When I Open My Eyes in the Morning, I See a Film: Experiment in Yugoslav Art in the ’60s and ’70s,” the inaugural show at the Museum of Modern Art in Warsaw (currently in a temporary location), which offered an extensive and illuminating look at one of the most active scenes at the time in the former Eastern Bloc. The title was taken from an interview with Tomislav Gotovac, one of the key Yugoslav artists of the period. As