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View of “Bettina Pousttchi: Double Monuments,” 2016. From left: Double Monument for Flavin and Tatlin VII, 2010; Double Monument for Flavin and Tatlin IX, 2013.

Bettina Pousttchi

The Phillips Collection

View of “Bettina Pousttchi: Double Monuments,” 2016. From left: Double Monument for Flavin and Tatlin VII, 2010; Double Monument for Flavin and Tatlin IX, 2013.

Since the 2009 inauguration of its project-based series “Intersections,” under the direction of curator Vesela Sretenović, the Phillips Collection has sought to establish a meaningful dialogue between its rich holdings of modern art and the dynamic landscape of contemporary cultural production. The series’ most recent iteration, “Double Monuments,” by the Berlin-based artist Bettina Pousttchi, was a powerful demonstration of the fecund possibilities for cross-historical dialogue between artist, site, and the avant-garde legacy. For those familiar with Pousttchi’s interventions into the architectural and institutional histories of the museums and exhibition spaces that host her, it is clear that the artist is eager to ignite conversations about the ways in which history and knowledge are passed down and memorialized. For this recent project, such dialogue was achieved through an

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