BERLIN — Lygia Clark’s current retrospective at the Neue Nationalgalerie makes a compelling argument that art, therapy, and politics are far more intimately related than they are often discussed as being. The Neue Nationalgalerie, by contrast, is replete with chances for visitors to interact with the work. Lygia Clark, “Óculos” (1966) (© Cultural Association “The World of Lygia Clark”; photo Eduardo Clark, 1973)For Clark, therapy was a form of survival: Turning inward to find and fortify the self during a military dictatorship was a radical act of self-preservation at a moment when very little recourse was available to the individual subject. The Neue Nationalgalerie show explicates this strategic sleight of hand, a move that feels risky, as so much of our already surveillance-saturated world slides ever more in the direction of authoritarianism. Lygia Clark, “Superfície Modulada” (1955–56) (© Private collection)Installation view of Lygia Clark: Retrospective at Neue Nationalgalerie, Berlin (photo Cat Dawson/Hyperallergic)Installation view of Lygia Clark, “Túnel” (1968) at the Neue Nationalgalerie, Berlin (Stiftung Preußischer Kulturbesitz / David von Becker, 2025, © Neue)Lygia Clark, “Cabeça Coletiva” (1969) (© Cultural Association “The World of Lygia Clark”)Lygia Clark, 1960 (© Eduardo Clark)Installation view of “Casulo” (Cocoon) (1959) in Lygia Clark: Retrospective at Neue Nationalgalerie, Berlin (photo Cat Dawson/Hyperallergic)Lygia Clark, “Estruturas de Caixa de Fósforos” (1964), gouache paint, matchboxes (© O Mundo de Lygia Clark-Associação Cultural, Rio de Janeiro; photo Michael Brzezinski, Private Collection, London; Courtesy Alison Jacques)Installation view of visitors interacting with objects in Lygia Clark: Retrospective at Neue Nationalgalerie, Berlin (photo Cat Dawson/Hyperallergic)Lygia Clark: Retrospective continues at the Neue Nationalgalerie (Potsdamer Strasse 50, Berlin, Germany) through October 12.