“BRUSSELS BIENNIAL 1: RE-USED MODERNITY” faces a high bar: One inevitably wonders what justifies its creation now, given the surfeit, apparent exhaustion, and perceived homogeneity of such exhibitions around the world today. The Brussels Biennial must confront both the skepticism of jaded audiences and the impressive sophistication that the best of these megaexhibitions have achieved. In fact, its inaugural version is precisely about this worldliness and its history. While the exhibition gets off to an uneven start, its rutted beginning sets the stage for a broader look at the irregularity and