In 1982, the year in which Rainer Werner Fassbinder made his film Querelle, one of the actors, Roger Fritz, took several hundred photographs on the set. On the film’s release, a book was published with reproductions of 119 of the images. Depicting the actors in still, dramatized poses that embody each character’s attitude as well as narrative episodes, Fritz’s photos distill Querelle’s wild, colorful, indoor set into iconic images. Fassbinder is noted for having brought some of the theatricality and the directness of the stage into the cinema, in part through his attention to the dynamic among

So they still exist, these miraculous little shows in Berlin’s galleries, when, for a little while, commercial spaces shake off the unbearable lightness of the mercantile world to become little kunstvereins or museums. Thomas Fischer has succeeded in just such a maneuver with his presentation (cocurated with art historian and filmmaker Boris Hars-Tschachotin) of “Brian O’Doherty: From Electrocardiogram to Rope Drawing.” The show is simultaneously a concentrated retrospective and a display of changing perspectives. While O’Doherty—an artist of many facets and at least two names—is famous