THE QUESTION IS WHO EXERCISES HOW MUCH POWER TO WHOSE ENDS? reads a line printed below statistics concerning US car production in the year 1978 and a photograph depicting cars in a parking lot. The collage, enclosed in a license-plate frame, at the top of which stands the word oligopoly, is one in a row of similar constructions––the others address FETISH, WASTE, POLLUTION, EXPENSE, and DANGER as characteristics of the automobile industry. Together, these elements comprise Photo License, 1978, the first piece visitors encountered in Fred Lonidier’s exhibition “Artworks from Protest, Social

Does the use of a particular printing technique, such as linoleum cutting, say anything about the content and character of a work of art? This question lurked behind the exhibition “Linocut Reloaded,” mounted by two Berlin galleries, Wagner + Partner and Hunchentoot, in the space of the former. The exhibition made its case for the medium by bringing together four German artists: Claas Gutsche, Philipp Hennevogl, Thomas Kilpper, and Sebastian Speckmann.

Two large, impressive prints by Gutsche place middle-class contentment against a dark backdrop. The villas in Siedlung Krumme Lanke (Settlement