Nearly concurrent with the scandal over anti-Semitic imagery at Documenta 15, a two-venue survey of the work of American artist Tony Cokes opened quietly in Munich. Housed, in part, in a former air-raid shelter beneath the Haus der Kunst—a museum originally built in 1937 to promote Nazi culture as the Haus der Deutschen Kunst (House of German Art)—the exhibition “Fragments, or just Moments” attempts to sit with inherited symbols of prejudice to ponder how they can be used for progressive mobilization as well as injury. Featuring the newly commissioned two-part film Some Munich Moments 1937–1972

Nearly concurrent with the scandal over anti-Semitic imagery at Documenta 15, a two-venue survey of the work of American artist Tony Cokes opened quietly in Munich. Housed, in part, in a former air-raid shelter beneath the Haus der Kunst—a museum originally built in 1937 to promote Nazi culture as the Haus der Deutschen Kunst (House of German Art)—the exhibition “Fragments, or just Moments” attempts to sit with inherited symbols of prejudice to ponder how they can be used for progressive mobilization as well as injury. Featuring the newly commissioned two-part film Some Munich Moments 1937–1972