IF, AS THEODOR ADORNO once famously asserted, “museums are the family sepulchres of art,” last spring’s presentation of Lara Favaretto’s 2010–15 series “Good Luck” transformed Rome’s MAXXI into a full-blown cemetery—albeit a quasi-Minimalist cemetery seemingly designed by Donald Judd with input from Walter De Maria and the stalwarts of Arte Povera. Each of the series’s twenty sculptures (there are eighteen on view in this exhibition) commemorates a different historical individual. But you wouldn’t know it at first glance: The monuments—composed of various arrangements of wood, polished