Curator Germano Celant called it “showing the showing.” “Post Zang Tumb Tuuum. Art Life Politics: Italia 1918–1943” was a gigantic show focusing on art exhibitions in interwar Italy. Although this may sound like a hyperspecialized initiative intended exclusively for exhibition-history nerds like me, the organizers succeeded in making it a sexy, widely admired, and massively attended event. To do so, Celant, in collaboration with New York design studio 2x4, employed two main curatorial devices. First, he scaled up original photographs of Venice Biennales, other major shows, and private apartments