One institution considers another: in a pugilistic text that frames the dense exhibition “Unschöne Museen” [Unbeautiful Museums] at gta exhibitions—part of the ETH Zürich’s architecture department—curators Fredi Fischli, Niels Olsen and Geraldine Tedder mention that recent events at the Kunsthaus Zürich catalyzed this show. The latter behemoth is currently addressing questions of provenance and funding after unflattering investigations into its relationship with donor Emil Georg Bührle. In 2021 the Bührle collection, on long-term loan, went on show in a purpose-built Chipperfield-designed extension to the Kunsthaus. Bührle, who died in 1956, became rich selling arms to Germany under the Nazis; his businesses later cooperated with the government of South Africa under Apartheid. The Kunsthaus’s gestures towards openness in this regard—such as commissioning ongoing additional research on the provenance of works in the Bührle collection—feel overdue. Nonetheless, it’s staggering for anyone who arrived in Switzerland this millennium that Hans Haacke exhibited Buhrlesque at Kunsthalle Bern back in 1985. Recreated at gta, two shoes made by Bally (a Bührle subsidiary) double as candle-holders on an altar decorated with other Bührle references—all venerating a framed issue of Paratus magazine (the official periodical of the South African Defense Force) celebrating a South African military visit …