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