It’s been nearly three decades since Francesco Clemente’s last big show in Berlin, at the Neue Nationalgalerie in 1984. And yet the three large “Tents” (all works 2012–13) featured in his recent exhibition of the same name make it clear that, far from running out of steam, this hard-to-classify artist is still pushing the limits of his art. Despite his new works’ scale—each measures about twenty by thirteen by ten feet—their effect is as light as a sorcerer’s touch: With them, Clemente turns the notion of artistic visibility by grace of institutional programming on its head. These

As its title suggests, the photographs in “German Flowers,” the first solo show in Germany by Ketuta Alexi-Meskhishvili, consist almost entirely of floral motifs. At first glance, erratic and irreducible differences separate her works—as pictures, they are, one to the next, very distinct. Yet the transitions between them are fluid. The Georgian-born artist’s approach to her subject attests to a keen visual sensibility and love of experimentation; in each picture, she builds her central motif from the ground up, exploring it in all its fragility and richness. The works are diverse not only