Af­ter a long pe­ri­od in which the sub­ject was ta­boo, an in­creas­ing num­ber of mu­se­ums are open­ing up to a trans­par­ent ac­count­ing of coun­ter­feit works, exchang­ing in­sights, and, if ne­ces­sary, de­cid­ing to write off works from their col­lec­tions. With a stu­dio ex­hi­bi­tion on the Rus­sian avant- garde, the Mu­se­um Lud­wig is ask­ing ques­tions about the au­then­tic­i­ty of works in its col­lec­tion. Thanks to Peter and Irene Lud­wig, in ad­di­tion to Pop Art and Pi­cas­so, the Rus­sian avant-garde is one of the fo­cus­es of the mu­se­um’s col­lec­tion, with more than 600 works from the pe­ri­od be­tween 1905 and 1930, in­clud­ing some 100 paint­in­gs.

Equal­i­­ty, in­­di­ge­­nous self-de­ter­mi­­na­­tion, wo­m­en’s rights, and Black Pow­er: the ex­hi­bi­­tion Map­ping the Col­lec­­tion takes a close look at the 1960s and 1970s in the Unit­ed States. It asks how artists have re­ac­t­ed to the so­­cial de­vel­op­­ments and up­­hea­­vals of th­ese de­­cades—and, con­­verse­­ly, what ideas about art from this time have shaped our me­m­o­ry. What im­age of Amer­i­­ca is rep­re­sen­t­ed here? What part did in­­di­ge­­nous artists, fe­­male artists, queer po­si­­tions, and artists of col­or play in the de­vel­op­­ment of art dur­ing this time?