We enter the gallery. An undulating, transparent wall directs our eyes to the right half of the room as it guides our bodies leftward, toward a photo mural composed of Bauhaus architecture, design, and art (Figures 1, 2). Separated from the outset, body and vision are at least perfunctorily reunited by an endless backlit band that requires a push of a button to set into motion half a dozen large photographs, including the glass corner from Walter Gropius's 1925––26 Dessau Bauhaus building and a diagram from Moholy-Nagy's 1924 film manuscript Dynamik der Groββstadt. Three suspended, circular, glass displays appear to free their content——Wilhelm Wagenfeld's 1924 Bauhaus lamp and other design objects——from the constraints of gravity. Private, circular viewing consoles for avant-garde films——including Viking Eggeling's Symphonie Diagonale (1924) and Dziga Vertov's Man with a Movie Camera (1929)——are visible...

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