HISTORY IS WHAT HURTS, Fredric Jameson quipped forever ago. There is a lot of history in the Fifty-Eighth Carnegie International, which reminds us that art should hurt, too. Unlike the previous International, which exulted in “museum joy”—as curator Ingrid Schaffner’s termed the epiphanic wonder that arises through experiencing artwork with other people—the latest edition of North America’s longest-running survey of international contemporary art slices through our relentless positivity culture, delivering instead a manifesto on art as survival, as open wound, as an accumulation of absences. In