Back-to-back exhibitions of Sophie Taeuber-Arp at the Museo Picasso Málaga, Spain, and the Kirchner Museum Davos, Switzerland (the artist’s hometown), illuminated a relatively overlooked modernist whose exposure at the Museum of Modern Art in New York nearly thirty years ago left the impression that hers is a slight oeuvre. It is not. Taeuber-Arp may, in fact, be the most visible artist of the twentieth century: Her face adorns the Swiss fifty-franc bill, handled daily by millions. How odd that power and money adhere so strongly to her legacy, belying her beginnings as one of the original