Entering Monica Bonvicini’s exhibition “Both Ends,” one became caught in a face-off between two works that confronted each other across the kunsthalle’s atrium. In the rotunda on one side was the seven-paneled arc of These Days Only a Few Men Know What Work Really Means, 1999, a digital collage depicting a construction worker–themed gay porn fantasy. Four floating green circles “censor” the image, two of which enclose the likenesses of Peter Eisenman and Michael Graves in miniature, as if the architects were imprisoned by their own auras. The lurid content of These Days edged into the gratuitous