DOMINIKUS MÜLLER is a writer, translator, and freelance editor based in Berlin.
In Basel, an exhibition in continuous flux beautifully unburdens its art of art history while reserving such freedom for art’s masterpieces.
Maria Eichhorn’s clinical peeling back of the architecture’s smooth surfaces reveals its historical contingency while resisting nationalism’s pretensions of grandeur.
What were the little highlights to make this life worth living – and what was bad enough to stand out in even the darkest times?
