MoMA announces Mondrian ‘Boogie Woogie’ show for 2027. https://ift.tt/cMGp3xL

Next spring, the Museum of Modern Art in New York will stage a major exhibition of Piet Mondrian’s work, focusing on the final years of his career and the profound influence that boogie-woogie music had on his late works.

Opening March 21st, 2027 and running through July 31st, “Mondrian Boogie Woogie” will bring together more than 30 artworks, along with archival materials and immersive audio installations exploring the Dutch artist’s four years in New York between 1940 and 1944. The exhibition will significantly reunite Mondrian’s final two paintings, Broadway Boogie Woogie (1942–43) and Victory Boogie Woogie (1942–44), which will be shown together for the first time in more than three decades.

The exhibition traces a pivotal chapter in Mondrian’s career. Having fled Europe during World War II, the 66-year-old artist arrived in New York on October 3, 1940. In this new city, Mondrian became captivated by boogie-woogie music, a piano-heavy genre of blues popular in New York. Originating with Black musicians in the American South as early as the 1870s, boogie-woogie music flourished in urban centers in the decades that followed.

Mondrian regularly attended performances at Café Society, New York’s first racially integrated nightclub, where leading pianists of the genre such as Albert Ammons, Meade “Lux” Lewis, and Pete Johnson were in residence.

The improvisational quality of the music significantly influenced Mondrian’s artistic practice. The artist, who in 1917 cofounded the De Stijl art movement in Holland, began reworking paintings he had completed in Europe, using colored tape and loosening the rigid grid structures that had defined his earlier abstractions. A new sense of rhythm and movement entered Mondrian’s practice, culminating in Broadway Boogie Woogie and the unfinished Victory Boogie Woogie, both now considered among the most celebrated paintings of his career.

“Mondrian Boogie Woogie” will also explore Mondrian’s experience as a wartime refugee along with the exodus of Black communities from the American South to Northern cities during the Great Migration in the U.S. from 1910 to 1970.

Other exhibition highlights will include a section devoted to Café Society and a series of musical components developed by contemporary composer and pianist Jason Moran and scholar Brent Hayes Edwards especially for the exhibition. Following its presentation at MoMA, “Mondrian Boogie Woogie” will travel to the Kunstmuseum Den Haag in the Netherlands, where it will open in September 2027.

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8 Must-See Exhibitions at Zurich Art Weekend 2026 https://ift.tt/5sgIE9d

Zürich Art Weekend returns for its ninth edition from June 12th to 14th, bringing together over 75 exhibitions and 150 events across more than 70 venues in one of Europe’s most concentrated art showcases.

The event also falls a few days before nearby Art Basel opens on June 16th, making the weekend an ideal pit stop for continental visitors.

Zürich has long had one of Europe’s densest gallery scenes. Local stalwarts such as Mai 36 Galerie, international names like Hauser & Wirth, and a cluster of younger spaces have made the city dynamic and varied. Art Weekend is when it all opens at once over a coordinated program that also includes parties and talks. A dip in the crystal-clear waters of the Limmat River, which runs through the city, is also highly recommended between art excursions.

“Zürich Art Weekend shines a light on one of the defining strengths of Zürich’s art scene: its culture of exchange,” the gallery weekend’s founding director, Charlotte von Stotzingen, told Artsy. “Historically, Switzerland has been a place of transit, dialogue, and international encounter, and during the weekend, these often invisible connections become tangible.”

From veteran painters making long-overdue European debuts to a landmark retrospective that has traveled across the continent, here are eight shows worth building a weekend around.

Michel Pérez Pollo

“Double Gaze”

Mai 36 Galerie

June 12–August 8

Cuban-born, Madrid-based painter Michel Pérez Pollo’s fourth show at Mai 36 Galerie is built around the concept of doubles—two versions of the same object placed side by side, close enough to look identical but subtly, unsettlingly, not.

Pérez Pollo starts by making small clay models of figures and objects, then enlarges and exaggerates them on canvas with a loose, fluid application of paint. His recent “Un Otoño” series of large oils on linen, some stretching to more than 4 meters in length, uses warm, muted palettes and rounded forms, making familiar things seem strange.

For “Double Gaze,” those tendencies are focused through the act of duplication. These works play with the ideas of originals and copies without ever resolving the question of which is which.

James Jarvaise and Henry Taylor

“Sometimes a straight line has to be crooked”

Hauser & Wirth

June 12–September 5

One of the most anticipated openings of the weekend, this is the first European exhibition to bring Henry Taylor—one of today’s most celebrated painters—into dialogue with his teacher, California modernist James Jarvaise (1924–2015).

Jarvaise spent decades teaching at schools in and around Los Angeles, including USC, CalArts, Occidental College, and eventually Oxnard College, where he was head of the Department of Fine and Performing Arts. It was there that a young Taylor enrolled in the 1980s, and Jarvaise immediately identified something exceptional.

Jarvaise gradually retreated from public life, painting in near-total privacy—a 2012 survey at Louis Stern Fine Arts in Los Angeles being a rare exception—by the time Taylor broke out as a major artist in the 2010s.

The show brings together Jarvaise’s cool, linear landscape abstractions from 1963, including Hudson River School Series (Segora Hills) and Man in the Room, with Taylor’s intensely human paintings of Black American life. While the contrast between the artists is striking, their painterly connection is unmistakable.

Adam Cruces

“Pastels”

Blue Velvet

June 11–September 5

Zürich-based artist Adam Cruces fills Blue Velvet’s walls with a large group of small pastel works installed in a tight arrangement of objects, landscapes, bodies, faces, rooms, animals, and fragments from film (including David Lynch’s film Blue Velvet, 1986).

Each image is compact and immediate, and their subjects accumulate rather than build a single narrative. The gallery describes the accumulated effect as evoking “a fragmented experience of reality, where even hyper-recognizable elements manage to evade an overt sequence of meaning.”

Born in Houston, Cruces has been based in Zürich since completing his MFA at Zürich University of the Arts in 2013, when he began working with local tastemaker Blue Velvet. His work—which also encompasses sculpture and video—has also been shown at Kunsthaus Baselland, the Swiss Institute in Milan, and the Museum of Fine Arts, Houston.

Marisol

Kunsthaus Zürich

Through August 23

María Sol Escobar (1930–2016), better known as Marisol, was one of the defining figures of the New York art scene in the 1960s. Indeed, even Andy Warhol was a fan, but towards the end of the 20th century, her reputation faded, as his only grew. This traveling retrospective, the first comprehensive survey of her work in Europe, traces the full arc of her career, from early portraits to large political tableaux to the late marine life sculptures she was still making into her eighties.

Born in Paris to Venezuelan parents, Marisol grew up between Caracas and New York, and studied with celebrated Abstract Expressionist Hans Hofmann. By the early 1960s, she was making life-size, painted wooden sculptures of politicians, celebrities, and everyday people built from rough-hewn blocks of wood combined with found objects, cast body parts, and flat graphic elements, often with depictions of her own face on others’ bodies. These works are strange, funny, and genuinely startling in person, sitting somewhere between Pop art and folk carvings.

The show was organized in collaboration with the Buffalo AKG Art Museum and traveled via the Louisiana Museum of Modern Art and Museum Boijmans Van Beuningen before arriving here.

Hana Miletić

“Not-Yets”

Galerie Tschudi

Croatian artist Hana Miletić photographs details of crumbling infrastructure: cracks in pavement, patched walls, and improvised repairs in public space. She then hand-weaves textiles that translate those images into cloth. The results are large, tactile, and time-consuming to make: the artist spends hours rendering a crack in concrete as woven thread.

Miletić has been building a reputation in Europe over the past decade and was named among Artnet’s groundbreaking fiber artists of 2025. In the last year, she has also had her U.S. museum debut at the MIT List Visual Arts Center in Cambridge, Massachusetts; as well as her first U.S. gallery solo show with Magenta Plains in New York. “Not-Yets” is her first solo show at Galerie Tschudi, which is based in the Engadin area of Zürich.

Carmen D’Apollonio

“It’s All a Big Mystery”

Tobias Mueller Modern Art

June 12–August 29

At local mainstay Tobias Mueller Modern Art, Carmen D’Apollonio presents a series of ceramic lamps that look like they have personalities.

The forms are hand-built in an experimental way. Parts of these lamps lean, tilt, and bulge in unexpected directions. D’Apollonio treats her surface glaze the way a sculptor handles texture, not just as a finish, but as a way of articulating a form, such as adding emphasis to a curve.

The lamps vary considerably from piece to piece. Some emit a dim, ambient glow through porcelain shapes, while others are more sculptural, drawing attention to proportion over light output. There’s a streak of humor in her works, too: one lamp’s shade sits at a pronounced tilt, like a hat worn at a wrong angle; another has a base that curves and rests rather than stands.

Born in Zürich, D’Apollonio came to ceramics after a decade as an art director in film and several years as an assistant to artist Urs Fischer.

Lily Ludlow

“Hunting the Wren”

Grieder Contemporary

June 12–September 25

Hortus and Griselda, 2026
Lily Ludlow
Grieder Contemporary

Hortus and Griselda, 2025
Lily Ludlow
Grieder Contemporary

Los Angeles–born artist Lily Ludlow paints bodies that dissolve into curving, interlocking shapes. Her canvases are heavily worked, with chalk and graphite alongside acrylic, giving them a density and layered, matte texture.

The figures in her canvases tend toward the ceremonial, grouped in what could be ritual or performance, or isolated in poses that suggest dance, specifically the ballet arabesque in which one leg is extended behind. That flowing, repeating curve—which also appears in Islamic and Art Deco ornaments—runs through much of Ludlow’s painting, where figures and decorative forms merge until it’s not always clear where one ends and the other begins.

A recent work, Hortus and Griselda (2025), sets its animal subject— named after a character from medieval literature—in a garden; creature imagery recurs across the show. Indeed, the exhibition title, “Hunting the Wren,” borrows from a Celtic folk custom in which the wren was ceremonially hunted, a ritual bound up with sacrifice and renewal. It fits the mood of Ludlow’s paintings, which are charged with the energy of formal performance.

Ludlow, who lives and works in New York, has shown at Hauser & Wirth, CANADA, and Shane Campbell Gallery in Chicago, among others. Grieder Contemporary is in Küsnacht, about 15 minutes from the city center.

Katja Schenker

“Caryatids Go for a Swim”

Museum Haus Konstruktiv

Through Sep. 6

This show marks a double occasion: a career survey of Swiss artist Katja Schenker’s practice in drawing, performance, and installation, and the inauguration of Museum Haus Konstruktiv’s newly expanded spaces in the Löwenbräukunst-Areal, central Zürich. Schenker is best known for installations built from rope, wood, and organic materials in which gravity, tension, and the trace of physical action become the focus of the artwork.

In this show, the exhibition’s title piece—a live performance—makes use of the eight massive pillars that define the new gallery space. In its staging on opening night, five women took up positions beside them and began throwing balls of string to one another. Over time, a dense net-like structure formed between the pillars, with the strings also threaded through two metal objects fitted with copper-spring grids that deformed and transformed as the throwing continued.

The reference is to the caryatids of classical architecture: women figures who substitute for columns. The performance is a kind of thought experiment: What if those figures put down the weight of the roof they carry and moved freely? The drawings on view explore similar territory through a different method. Schenker covered her body in gouache and pressed herself directly against paper, leaving a body-shaped imprint as a starting point. She then drew outward with oil sticks simultaneously, building lines in deep reds that radiate from the point where her body made contact. The result is part self-portrait, part performance documentation.

Five videos of past performances, made between 2011 and 2026, are also on view in an adjacent glass box.

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Who the Art World Is Supporting at the FIFA World Cup 2026 https://ift.tt/mVMDklX

Football, ca. 1980
Steve Kuzma
G & O Art

Pelé kissing the World Cup Trophy, 2013
Terry O'Neill
Trimper Gallery

Whether you call it football or soccer, fútbol, or futebol, the sport is no doubt going to be everywhere this summer thanks to the FIFA World Cup 2026. The most-watched sporting event on the planet, the World Cup will take place this year across the U.S., Canada, and Mexico, marking the first time three nations have co-hosted the tournament.

With the first game kicking off on June 11th, World Cup fever is already spreading in the art world. Artsy asked a cross-section of artists, curators, and gallerists for their predictions and highlights, plus the one artist they’d tap to design a jersey.

J. Rachel Gustafson, chief curatorial officer at the Norton Museum of Art

Who they’re supporting

I love the upsets when an underdog comes through and surprises everyone. For that reason, I will be keeping my eyes on Japan.

What they’re looking forward to

Sweat and camaraderie. For me, the World Cup has great summertime memories attached to it, where being hot and a bit sweaty is intertwined with the excitement and fast pace of the game itself. Even if your group of friends is rooting for the other team, everyone is so darn happy—really, elated—to watch how things unfold.

And if your team loses, I find that the happiness does not dampen. The camaraderie and exhilaration of close calls are a joyful combination no matter the outcome. So, find some shade and some good friends, and you will have a full summer of soccer-laced memories.

This Manifestation of Historical Restlessness, (from Robin's Intimacy), 2022
Julie Mehretu
Gemini G.E.L.

The artist they’d tap to design a soccer jersey

Julie Mehretu. Her fluid and expressive lines so closely align with the sport’s movements. Lyrical, unpredictable, and energized.

Charles Hascoët, artist

Who they’re supporting

I’ve been a devout Paris Saint-Germain fan since my teenage years, so the club will always come first in my heart. But if France lifts the trophy, I certainly won’t complain.

France over Spain in the final. Thanks to a goal by Ousmane Dembélé following a pass by Michael Olise.

What they’re looking forward to

The underdogs, the creative players, the unexpected moments. Once the politicians and FIFA officials fade into the background, what’s left is pure passion and next-level football. That’s always the best part.

The artist they’d tap to design a soccer jersey

I’d be curious to see what [fashion designers] Miguel Adrover or Karim Hadjab could do. But after all, a shirt is only truly designed by the players wearing it. Some of history’s ugliest kits became the most iconic artifacts because inspired players transcended them into something else entirely.

Lyndon Barrois Sr., artist

Who they’re supporting

I’m a fan of long shots. Senegal is definitely up there. How cool would that be, to see a sub-Saharan country take a championship home? And then Portugal. Cristiano Ronaldo has no rings, so it’d be cool to see the 41-year-old get one.

What they’re looking forward to

How many fans will show up due to all the price-gouging that’s going on? We can’t act like it isn’t happening. It’s far beyond what happens on the pitch.

The artist they’d tap to design a soccer jersey

Melissa Koby. She is an exceptional graphic artist, and her medium of using cut paper is marvelous. Her clean, crisp lines and color palette would translate to excellent jersey designs.

Touria El Glaoui, founding director of 1-54 art fairs

Younes’s Back, 2012/1433
Hassan Hajjaj
L'Atelier 21

Who they’re supporting

Morocco, obviously. I have already prepared myself emotionally for the celebrations. But I’ll also be fully Team Africa: South Africa, Egypt, Ghana, Senegal, Tunisia, Algeria, Ivory Coast, and Cape Verde.

What they’re looking forward to

Morocco winning.

The artist they’d tap to design a soccer jersey

Hassan Hajjaj, without hesitation. He already made an incredible piece for [Morocco captain] Achraf Hakimi, so he is more than ready. And since Morocco is clearly winning the World Cup…it has to be a Moroccan artist.

Massimo De Carlo, founder of MASSIMODECARLO

System Black IV, 2024
Ludovic Nkoth
MASSIMODECARLO

Who they’re supporting

BRAZIL.

What they’re looking forward to

Hope to see some great new players and new teams.

The artist they’d tap to design a soccer jersey

Ludovic Nkoth and Elmgreen & Dragset!

Roger Tatley, senior director at Goodman Gallery

Who they’re supporting

Senegal. It’s way beyond time for our continent to win it. My club loyalties tell the story: Chelsea in the U.K., Orlando Pirates—Soweto’s finest since 1937—in South Africa, and Fluminense FC in Brazil, thanks to Lygia Clark’s wonderful extended family, who helped me fall under their spell in Rio.

What they’re looking forward to

South Africa. The Bafana Bafana supporters’ kudu-horn Kuduzelas and Vuvuzelas versus the Mexicans’ matracas and redoblantes drums should bring the noise before both teams’ first kick-off.

Peasant Revolt II, 2024
William Kentridge with Greta Goiris
Goodman Gallery

The artist they’d tap to design a soccer jersey

William Kentridge. The remarkable concertina-folded paper and fabric garments he and costume designer Greta Goiris make would look incredible flying down the wing.

Lee Cavailaire, director of VOLTA art fairs

Magical Thinking, 2024
Grayson Perry
MLTPL

Who they’re supporting

I haven’t the faintest idea who’ll win. But when Spain won [in 2010], the party in central London was pretty epic.

The artist they’d tap to design a soccer jersey

Grayson Perry. I think the sport could do with challenging its strong male persona. Some frills would liven the whole thing up.

Bosco Sodi, artist

Pile Up: High relief n°B12, 2018
Daniel Buren
Lisson Gallery

Who they’re supporting

Mexico. I have tickets for all of their games, and I’m expecting them to go to the quarterfinals.

What they’re looking forward to

The World Cup always surfaces so many artists who love football. I play and watch games with many of them. There’s a whole community around it.

Who they think will win

England or Spain.

The artist they’d tap to design a soccer jersey

It’s my dream to one day design the Mexico jersey. But if I had to choose someone else, I would love to see a jersey by Daniel Buren.

Jennifer Scott, director of Dulwich Picture Gallery

Cartwheel of Dreams, 2025
Yinka Ilori
Cristea Roberts Gallery

Who they’re supporting

Brazil. They always have incredible talent.

What they’re looking forward to

France. I’m excited to see how their next generation of players performs on the biggest stage.

The artist they’d tap to design a soccer jersey

Vivien Zhang. Her color palette is fantastic, and there’s something both dynamic and organic about her work that would translate really well to a football jersey.

Aziz Isham, executive director at the Museum of the Moving Image

One Year Performance 1981-198, 1981-1982
Tehching Hsieh
Taipei Fine Arts Museum

Who they’re supporting

I always like to cheer for the underdog, and one of the teams I’m pulling for this year is Morocco. I lived in Tangier in my twenties, and it was the first time that I was exposed to real soccer culture.

What they’re looking forward to

Iran v. New Zealand in L.A., [which] is home to the largest Iranian community outside Iran, and there will be a lot of feelings. I don’t know much about them, but I do know that it’s going to feel really good—and maybe cathartic—to be cheering together that day.

The artist they’d tap to design a soccer jersey

Tehching Hsieh. I’m dying to see his retrospective at Dia Beacon, and I like the idea of jerseys that are connected to each other by eight-foot ropes or something.

Mariët Westermann, director and CEO of the Guggenheim Museum

Dress, autumn/winter 2013– 14
Iris van Herpen
The Metropolitan Museum of Art

Who they’re supporting

I’ve been a devoted Netherlands fan since I was eight years old, though I always cheer for the U.S.

when they’re not playing the Dutch.

What they’re looking forward to

I’m especially looking forward to welcoming soccer fans, art lovers, New Yorkers, and visitors from around the world to the Guggenheim to celebrate the beautiful game played at World Cup level. We’re presenting Zidane: a 21st-century portrait (2006), a fan-favorite video work by Douglas Gordon and Philippe Parreno [that] illustrates the remarkable intersection and artistry of contemporary art and sport.

We’ll also be livestreaming matches on Friday afternoons at Frank’s Pub—a pop-up space hosted inside a UNESCO World Heritage site, no less.

Ensemble, 2024
Sanford Biggers
MASSIMODECARLO

The artist they’d tap to design a soccer jersey

I’d love to see Iris van Herpen design a Netherlands jersey—as long as it remains orange—or Sanford Biggers create a jersey for the U.S.

Martin Clark, director of Camden Art Centre

I Think About Football, 2023
David Shrigley
FairArt

Who they’re supporting

I’m supporting England, and I have to say I’m excited to see how Thomas Tuchel does—I love that he’s our first German manager.

What they’re looking forward to

I’ll go for England to go out in the semis, France to win it. (As my son Oscar put it when I asked him: “Dembélé, Kylian Mbappé, Désiré Doué, and Olise!”)

Abstraktes Bild (P1), 1990/2014
Gerhard Richter
EARLH

The artist they’d tap to design a football jersey

David Shrigley is a big football fan. He’d perfectly capture those timeless feelings of naive and baseless optimism, creeping anxiety, inevitable disappointment, and defiant self-deprecating humor. All of which goes to make up the rich and irreplaceable experience of supporting the England men’s team.

Or, with the Tuchel connection this year: Gerhard Richter. One of the mid-1980s “Abstraktes Bild” squeegee paintings as an all-over print. I’d wear that.

Browse a curated selection of World Cup-themed artworks on Artsy here.

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Rising Artist Holly Lowen’s Hyperrealistic Paintings Tap into Raw Competitive Instinct https://ift.tt/mdT6MNU

Since approximately 1500 B.C.E., chickens have become earth’s most widely domesticated—and abused—creatures. “They live amongst people so easily, but then there’s a tendency in humans to push them into cockfights again, to put them back into their nature,” rising artist Holly Lowen told me in her Tribeca studio, while two paintings of roosters watched on. In one of these works, a lone rooster soars through the air, mid-karate-kick. The other depicts a torrent of the flightless fowl tumbling from nowhere. “What is that about human nature that we’re like, ‘we’ve declawed you entirely, and now we want to see you fight again?’” Lowen mused.

The artist’s latest body of work goes on view this week at Perrotin New York in “Colosseum,” her debut show in the city, on view through July 31st. Her ritzy yet uncanny tennis-core paintings have become her visual calling card. The roosters, however, are new. Both embody Lowen’s interest in competition as a relic of humankind’s wild origins.

Lowen studied art history at Duke, then interior architecture at Parsons, before joining New York–based architecture and design firm Meyer Davis. After giving birth in 2016, however, she started wondering whether she really loved that profession. She ended up realizing her true devotion to art. “To me, art is like an addiction, an affair, something just like a whirlpool of obsession,” Lowen told me in her studio, where she’s worked ever since—an airy, economical room in her family’s Tribeca apartment. “I didn’t think I could find something like that, that would make sense to take time away from the kids.”

Lowen taught herself to paint by first learning how to render subjects hyperrealistically, inspired by Cj Hendry. “I thought if I could get to that level,” Lowen said, “I could do whatever I wanted.” After all, you have to know the rules in order to effectively break them.

Several years into these self-directed studies, “I realized I needed a real MFA,” Lowen continued. “I didn’t feel like I could jump into my conceptual side as deeply without that friction of community, feedback, and critique.” She enrolled at the New York Academy of Art, an alma mater of major contemporary names like Naudline Pierre and Jordan Casteel, situated blocks from Lowen’s home.

There, Lowen became enamored of the compositional motif she calls “entanglement,” inspired by Peter Paul Rubens’s twisting scenes and Édouard Manet’s “strange angles.”

Tennis entered later. Lowen spent high school hooked on the game’s rush. “You're beating someone, and you’re really engaged,” she said. “The feeling is so intense and animalistic, but the actual outside view of it is so preppy and perfect and quiet.” Lowen realized it’s the perfect metaphor for another lifelong love of hers—evolutionary psychology, the study of “how we’re meant to be, or how we were originally made, and clawing our way back to our natural state, versus the rules of civility that have been imposed upon us,” as she put it. Her first-ever exhibition, with Simchowitz Gallery during Frieze Los Angeles 2025, paired paintings of tennis players with paintings of flamingos—birds which look whimsical, but are incredibly tough.

Since then, Lowen has exhibited tennis paintings and scenes of flamingos tied into literal knots alongside the equally buzzy sculptures of Jeffrey Meris with François Ghebaly at New York’s Duet art show. She’s shown with Perrotin several times as well, in the gallery’s group show during last year’s Art Basel Paris, and at its Art Basel Miami Beach booth months later.

Lowen’s solo Perrotin debut, though, will present several new developments in her practice. For starters, this is her most expansive series of large works thus far. Some measure 5-by-5 feet, transforming the act of painting into its own sport—while more readily enveloping viewers. She’s also experimenting with new techniques, painting indirectly (rather than alla prima) by layering water-mixable oil paint over variously hued grounds of acrylic or flatter Flashe vinyl paint. These radiant foundations set the stage for slippery clay courts like the one in The Audience (all works 2026) or delicate grassy ones, as seen in Shared Myth or Dunbar’s Number.

Lowen has started layering her paint with a heavier hand as well, paradoxically producing the lighter wash effects that enhance these works’ dreamy auras. Impeccably clad yet proportionally off-kilter figures emerge. Sometimes they brawl, blurring the line between one and many in Escher-esque arrangements that evoke Eadweard Muybridge’s motion photographs while confounding the rules of tennis, where no more than four players normally take the court. Elsewhere, these athletes rest, recover, even canoodle. Faces remain evasive across the board, unsettling viewers on a primal level. These works remind us that no matter how humanity attempts to dress up its roots, our brains—which evolve much slower than society—still bear our animal nature. The artificial politesse surrounding a game like tennis only thrusts this reality to the fore.

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