Before selfies, postcards used to be the braggadocios way to let the world know which exotic locales you visited. They relate to selfies in that they advertise a digitally enhanced and stylised world that has little to do with reality. With a nod to the advent calendar, the radical German artist and filmmaker Ulrike Ottinger mounted numerous postcards, that were sent to her by friends and family, onto the back of old-fashioned pull-down world maps typically used in German history and geography classes during the 1970s. The resulting windows-to-the-wold show a manufactured reality that glosses over poverty, natural disasters, genocide, discrimination and greed. They point to the ethnographic falsehoods about cultures and distortion of histories that lie at the core of many of our cruellest past and present conflicts. Lining these perverted world maps is a kaleidoscopic arrangement of Ottinger’s photographic output. It is a hodgepodge of often bizarre portraits and scenes that in their totality speak of our primordial desire to make sense of a senseless world. At Bridget Donahue through March 3.