“Morgen ist die Frage”—tomorrow is the question—reads the banner by Rirkrit Tiravanija which swathes the top floor of Berghain’s façade. The statement seems antithetical to the philosophy of the most famous techno club in the world. Before lockdown began and ravers were forced to find their fun at illegal parties in the parks of Berlin and the forests of Brandenburg, Berghain was where you went to forget about tomorrow. If you could brave the lengthy queue and possible rejection by the club’s notoriously mercurial door staff, days of hedonism lay ahead. But for now, the 3,500-square-metre venue, first a power plant and then a nightclub, has become an exhibition space. When Covid-19 forced clubs and galleries to close in March, Berghain’s owners approached Karen and Christian Boros about mounting an exhibition to provide a platform for artists who live and work in the city. Funded by a 250,000 euro grant from the Berlin Senate, the show does not feature work from the Boros Collection—housed in a World War Two bunker in central Berlin that was itself once a techno club that hosted fetish parties—but they and Juliet Kothe, director of the Boros Foundation, are listed as co-organizers. As an overarching …