Elsewhere, there’s the seductively surreal
(2012), which tells the story of a married couple whose soldier son, returned from the front, may have helped commit minor atrocities. And Faurschou’s initial inspiration for the exhibition came from two intense, downbeat works he owns: a lurid Paul McCarthy sculpture that riffs on the visage of Charles Bronson, and ’s
painting Mit Roter Fahne (With Red Flag)
(1965), showing a forlorn soldier, ragged and shoeless.
Faurschou and his foundation already have footprints in Copenhagen and Beijing, as well as a temporary space in Venice. New York seemed like the obvious next step. “It’s such an energized city, and to have a permanent presence here is a challenge,” Faurschou said. “There’s so much competition.…The bar is probably higher here in New York than any place else in the world.”