The phrase “Spiel ohne Grenzen” (Game Without Borders), the subtitle of one of Christoph Schlingensief’s many outrageous theatrical productions, succinctly characterizes what held the vast range of work together in this posthumous exhibition staged by Klaus Biesenbach, Anna-Catharina Gebbers, and Susanne Pfeffer, and traveling to MoMA PS1 in New York this month. The manically prolific Schlingensief began his career as a filmmaker and morphed into a theater and opera director, TV-show moderator, pseudo politician, all-around provocateur, and finally artist before his untimely death at the age of

On entering Anicka Yi’s recent exhibition, one saw a light-gray wall with rectangular recessed chambers containing sculptural assemblages, stylishly illuminated and mounted on flat white pedestals. The presentation evoked the displays at a high-end store—which makes a certain sense, since the show was partly conceived in collaboration with Mari Ouchi of New York–based boutique jeweler Faux/Real. Three large compartments contained arrangements of materials such as translucent resin, trinkets, Plexiglas, and steel; a smaller one was filled with dry dog food. For all her work’s superficial