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View of “Cindy Sherman,” 2012. Photo: Thomas Griesel.

Cindy Sherman

View of “Cindy Sherman,” 2012. Photo: Thomas Griesel.

IN THE ANGLO-AMERICAN museum world, this past winter might well have been called the season of the portrait. That theme announced itself in London, at the National Gallery’s incomparable Leonardo exhibition, in which the gathering of portrait subjects scattered from Paris to Krakow upstaged even the epochal pairing of the Louvre’s Virgin of the Rocks with its London replica. A month later in New York, the Metropolitan Museum of Art opened “The Renaissance Portrait from Donatello to Bellini,” an assembly of fifteenth-century images that brought to an extraordinary semblance of life its cast of northern Italian courtiers and prodigies of financial manipulation from the dawn of our modern banking system. Then, in winter’s waning weeks, the Museum of Modern Art in New York mounted a contemporary rival to the masters in its opulent retrospective for Cindy Sherman.

To align Sherman’s

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