• Ai Weiwei, Template, 2007, wooden doors and windows from destroyed Ming- and Qing-dynasty houses (1368–1911), 13' 10“ x 36' 3 1⁄2” x 28' 8 1⁄2".

    Ai Weiwei

    Haus der Kunst

    AS AI WEIWEI CAN TELL YOU, the Chinese government, whenever it feels unduly criticized, has a tendency to protest that the critic is “hurting the feelings of the people.” Ai’s mega-exhibition at the Haus der Kunst in Munich, titled “So Sorry,” was a fearless, if sometimes grandiose, rejoinder to this feeble remonstrance—more or less the equivalent of the artist’s infamous art-world motto, “Fuck off.” That this spectacular exhibition, which was timed to coincide with the sixtieth anniversary of the founding of the People’s Republic of China, took place in what was once Hitler’s official museum

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  • Andreas Hofer

    Goetz Collection

    Time seemed to flow in all directions in this show. While the exhibition’s title—“Andy Hope 1930”—suggested a chronology, 1930 wasn’t the only year that played a role: The 1950s and ’60s were also evoked, largely via images from comics and science-fiction movies, though quotes from the history of modern art and ancient mythology turned up as well. A prime example of this anachronism was the largest picture in the show, the nearly sixteen-and-a-half-foot long Thunder Agent Nevada Doom 4419, 2004. It shows a golden chariot that floats above a sea of flames as it is pulled by red, blue, white, and

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