Being dismissive of the works of men like Picasso is a lazy stance to have; one cannot deny their brilliance and impact on culture. However, to not think critically of their work in the world they now exist in, is a lazy act too. The focus of It’s Pablo-matic is on how Picasso’s real-life connections with women are crucial for evaluating his art because he frequently portrayed sex, women, and himself, in his works.

Clearly, there is a need to have meaningful ways to engage with such work, with a lens that is empathic and accounts for the nuanced. Its Pablo-matic attempts that. At the least, the show pushes the conversation forward. As the co-curator Catherine Morris said in a podcast that the show is about “giving complicated things the space to be complicated.”

Terror isn’t an abstraction when you’re tensed for the next assault, when it infiltrates the lives of your family and your colleagues. Just ask around in the United States, where firings, deportations, and even disappearances are becoming routine. It’s hard to find someone unaffected, if only indirectly. In fact, it is the indirect effects that are the most insidious. They spur pre-emptive censorship and equivocation between compliance with, and rejection of, the new status quo. This is a tightrope act that Eilish ultimately refuses to perform.

When Zarina had left Aligarh in 1958 she didn’t know that would be the last time she would live in her country, in her home with her family, with her language. The idea of home was central to her work; her childhood home in Aligarh made countless appearances throughout her career. “Some people who have come and settled in the United States don’t look back, but I am not one of them,” she said in a 2017 interview.