A German with his feet on the ground, as Kipling says of the
English, not imposed upon in the Great War by bullocks and swine, an
excellent painter just as painting goes through the eye of a needle after Cézanne.
You see him in his crowd, a failing at LACMA, another is to treat
films as wall decorations when they are needed for the work (and digital
reproductions are at best only that).
Nevertheless, the triumphant abstraction (passing amongst Dada and
Surrealism and Suprematism), the filmic numbers,
the great Dragonfly (with preparatory sketch) and the layout of Stalingrad,
to see the working method.
Computations on “stock-market metals” in later years, a
small theater for Dreams That Money Can Buy, Duchamp’s Box
in a Valise, an array of photographers, Richter the great illuminator of
the modern world in shapes and lines.