ROCHELLE FEINSTEIN is always reinventing her sources. Born in 1947, she only started experimenting with an abstract style of painting in the 1990s, consciously developing a practice equally receptive to history, everyday objects and language, and personal experience. Twenty-five years of her art can now be seen in her first extensive retrospective, “Rochelle Feinstein: I Made a Terrible Mistake,” curated in Munich by Stephanie Weber. (The exhibition opened in Geneva and will travel to Hannover, Germany, next month and to New York in 2018, with different curatorial permutations and show titles

“Conversation in a Yes/No Landscape,” curated by Nikola Dietrich, was the first collaboration between Gerry Bibby and Henrik Olesen (parts of the project were previously shown at Sismógrafo in Porto, Portugal). Yes and no, black and white: These were the classic binary oppositions articulated in the show’s first room, titled “Straße” (Street), with its stark black-and-white paintings on carpets, variations on the motif of the asphalt street with its center line. Upstairs in a section titled “Versatile?” we saw a wooden easel with a transparent glass pane placed in front of a large window to