The conception of the city park, which owed to what Baudelaire termed modernité, is taken account of in the exhibition, as is the Expressionists' ur-forest that transcended external reality, and the forest metamorphosed into an enigmatic, impenetrable locale in Surrealism. In the late nineteen-twenties the Surrealists located their "antagonist" in the German forest—clairvoyantly anticipating what Martin Heidegger, looking back on the horrifying recent past in 1951, would term the Holzwege, the woodland paths that had led to disorientation and destruction.

¶ 10:15 PM