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The Museum of Modern Art’s retrospective Käthe Kollwitz, the artist’s long overdue New York City major debut, is both a technical and thematic wonder suffused with the artist’s fury and the overwhelming pathos of her work. The exhibition examines both the piecemeal ways in which Kollwitz produced her works and the recurrent nature of her motifs, including, of course, hands.
Adrian Spence describes Camerata Pacifica's March slate as "an ultra-romantic program: two huge masterworks, with an interlude of transcribed starlight."