The ex­hi­bi­tion Tran­s­cor­po­re­al­i­ties re­flects on the mu­se­um as a perme­able body in which vari­ous bi­o­log­i­cal, so­cial, tech­no­log­i­cal, po­lit­i­cal, and eco­nom­ic sys­tems flow in­to each other. Like all hu­man and non­hu­man en­ti­ties, it en­gages in per­pe­t­u­al metabolic pro­cess­es with its en­vi­ron­ment. Against this back­drop, the tran­si­tio­n­al area of the foy­er turns in­to an ex­hi­bi­tion and per­for­mance space. Here as well as in the col­lec­tion, the artists raise ques­tions about em­bod­i­ment, vis­i­bil­i­ty, and ac­ces­si­bil­i­ty: What is in­scribed in and at­trib­ut­ed to the body? Who is look­ing at whom? Mu­se­ums are so­cial places of ed­u­ca­tion that cre­ate mat­ter and mean­ing. But what are the pos­si­bil­i­ties and lim­its of cor­po­re­al rep­re­sen­ta­tion?

On the oc­ca­sion of the Bauhaus an­niv­er­sary, the Mu­se­um Lud­wig is ded­i­cat­ing a pre­sen­ta­tion in the pho­tog­ra­phy room to the pho­to­g­ra­pher and his­to­rian of pho­tog­ra­phy Lu­cia Mo­ho­ly. In ad­di­tion to her pho­to­graphs, let­ters from the Mu­se­um Lud­wig archives will be pre­sent­ed. Mo­ho­ly pub­lished A Hun­dred Years of Pho­tog­ra­phy: 1839–1939&nb­sp;in Lon­don in 1939, a book that rewrote pho­tog­ra­phy's his­to­ry.

For the se­cond edi­tion of the se­ries Schultze Pro­jects, the Amer­i­can artist Av­ery Singer has cre­at­ed a new, site-spe­cif­ic work for the stair­well at the Mu­se­um Lud­wig. The sev­en-part work is over sev­en­teen me­ters long and three and a half me­ters high. The name of the se­ries re­fers to Ber­nard Schultze and his wife Ur­su­la (Schultze-Bluhm), whose es­tate is ma­n­aged by the Mu­se­um Lud­wig, and in whose me­m­o­ry ev­ery two years since 2017 an artist has been in­vit­ed to cre­ate a ma­jor work for the pro­mi­nent front wall of the stair­well.