The takeovers were financed by issuing zeroes.

The road up to the house had a steep inclination.

In his own words, Hofmann experienced an “intoxicated-like condition” along with an overactive imagination.

It’s all been a dreadful embarrassment, but why should anyone outside Germany be concerned? Because Documenta was always a pacesetter — and this year’s edition certainly put its finger on a larger shift, seen too in our museums, our art schools and our magazines, away from aesthetic ambition and intellectual seriousness and toward the easier comforts of togetherness, advocacy and fun.