The worst thing you could do to the German Pavilion, Henrike Naumann decided, per a wall text, would be to “make it cozy.” Adorning the windows of the space—which was remodeled by the Nazis in 1938 in an overtly fascist style that it still maintains—she added holes to domestic-feeling curtains, fabric in denim and gingham. But cozy they are not. Some have violent rips; others have holes fixed neatly with grommets. None, as far as I can tell, are patched over seamlessly. This year’s Venice Biennale marks the first edition under the organization’s new president, Pietrangelo Buttafuoco—himself associated with neo-fascist politics. The chatter around it focuses on his claim of “neutrality,” allowing any and all countries to participate regardless of whether they are in the midst of committing crimes against humanity. Related Articles All this violence—and art’s complicity in it, as a tool for soft power and reputation laundering—looms over the national pavilions.…