“I never thought I would be a landscape painter,” Dan Attoe once remarked—and yet landscapes have played a role in all his work to date, as settings for figures in action. Attoe grew up in nature, his parents working as foresters around the country, so he is familiar with the often spectacular natural settings of the United States. Yet as a small-town kid he is also used to being bored, feeling alienated, or “doing crazy shit” (as he put it in a 2014 lecture). His early experiences have poured into his oeuvre of the past decades, which comprises highly detailed figure paintings depicting

“George Condo. Confrontation” nestled 129 works—paintings, drawings, and sculpture—made by the American painter over the past thirty-eight years amid the Museum Berggruen’s rich modernist holdings: Picasso, Klee, Matisse, and Giacometti, inter alia. At the entrance of all this was The Great Schizoid, 1984. The artist’s surname is blazoned across its mottled gray background, the o’s formed by twin globes: Condo containing multitudes. “Schizoid” makes sense. While himself pivotal to latter-day figurative art, Condo has long presented himself as a jigsaw of apparent influences, from