Kasper Bosmans has turned the Fondazione Arnaldo Pomodoro outside in. On entering his solo exhibition, the visitor is presented with a reproduction of a stylized city: painted onto the walls in shades of red are two ajar doors; assorted memorabilia can be glimpsed through a window display; a mural resembles a fake stone wall; and a thin pink highway painted on the floor, beside which rests an object resembling a discarded necklace, directs the viewer to a red wall on which hang three paintings the size of standard letter paper. Curator Eva Fabbris approached Bosmans about a show before the pandemic. The project morphed over the following months to suit the radically changing conditions, and to reflect art institutions’ ongoing anxiety over how they relate to their audiences. “A Perfect Shop-Front” could be thought of as a kind of trompe l’oeil: the minimal rendering of an urban project within an institution. A tiny strip of the city has percolated into an exhibition space, creating a zone of thresholds in which the boundaries between inside and outside are thin. A serendipitous detail: Fondazione Arnaldo Pomodoro is located just a few steps from Milan’s Navigli, two artificial water channels built in the …