This walk is about what you can’t directly see but can diagram — the underlying order that makes a thing legible. Frida and Diego: The Last Dream is itself a demonstration: the exhibition design is by a stage set designer, Jon Bausor, who translated the Metropolitan Opera’s production into gallery space. The rooms are scenography, not conventional installation — an ’otherworldly setting’ that reframes paintings you already know by placing them inside a theatrical argument about Kahlo and Rivera’s relationship. Walk in knowing the installation is itself the authoring act. The paintings are the same. The frame does new work. Hilma af Klint one floor away is the show that has stayed with me since her Guggenheim retrospective — these botanical diagrams are the argument for why she matters. Not the large mystical canvases but the working drawings: plants rendered with scientific rigor and then abstracted into geometry, color-coded, annotated like a technical drawing of a system you can’t see. What stands behind the flower is the same question that drives your discipline — what is the underlying order, and can it be diagrammed into visibility? She was building a notational language for invisible structure decades before anyone understood it. Shorelines closes first and closes the walk: two centuries of American painters at the waterline, where every canvas is an answer to the question of how to render a boundary that won’t hold still. A threshold problem — the architecture of the in-between. Three shows, all with deadlines, all on the same question. Hit Shorelines first.