Kerstin Brätsch’s paintings on paper and on glass are in dialogue with the history of postwar European painting, but in a manner that is both admiring and critical. If a Brätsch work like Sigi’s Erben can summon the ghosts of progenitors like Sigmar Polke, the imaginative ways in which she constructs and exhibits her work can been seen as a way of taking a required distance from her historic references.