This show of 47 works by 36 artists—41 drawn from Julia Stoschek’s collection, augmented by six loans—explores the effects of violence, physical and psychological, on the body and the body politic. The earliest work on display is Karl Wilhelm Diefenbach’s Capri (1911), an oil painting showing a sunset burning out over a darkening coastline; the most recent is Anne Imhof’s Untitled (Wave) (2021), a thirty-minute video wherein a lone figure stands on a shoreline, beating back the oncoming tide with a whip. The show is filled with careful pairings, its emotional register ranging from despair to hope, from the abject to the sublime. It takes its title from David Wojnarowicz’s 1986–87 montage of spinning eyeballs and sewn flesh, mummified corpses and ants crawling over a figurine of the crucified Jesus; on the opposite wall hangs Zoe Leonard’s Untitled Aerial (1998/2008), a photograph of a vast landscape with a river wending through it like a strip of silver ribbon. The two sit in silent communion, the naked landscape a counterbalance to the corporeal concerns of Wojnarowicz’s work. As is so often the case with this show, the wound inflicted by one piece is salved by the next. On entering the space, …