“Whose Expression? Die Künstler der Brücke im kolonialen Kontext” (Whose Expression? The Brücke Artists and Colonialism) is a didactic show. The exhibition aims to shed new light on key members of the German artist collective Die Brücke, which was formed in 1905 in Dresden. The group, which included Erich Heckel, Ernst Ludwig Kirchner, Emil Nolde, Max Pechstein, Karl Schmidt-Rottluff, and others, was eager to break away from the stultifying curricula of the art academies and the rigid bourgeois social norms of the era. Characterized by angular and rather coarse abstract shapes and employing a

Caroline Bachmann started painting Lake Geneva and the surrounding mountains from the vantage point of her studio almost a decade ago, setting the landscape in frame-like openings within the composition. She lifted the device from the American painter “discovered” by Marcel Duchamp in 1917, Louis Michel Eilshemius, who often painted frames around his naturalistic scenes. Bachmann’s outlines are wonkier than Eilshemius’s, and those that contoured the depictions of ridge, lake, and sky in her exhibition “Nine Landscapes, Two Portraits, and One Candy Bar” resembled the windows of planes or trains,