I first came to the United States as an “international student.” At the risk of bothering the current administration, I stayed here. I remember every moment that I’ve learned something new about the culture and place I live in: class, labor, and racial relations, geography, history, the political system. I picked it up as I went along in an attempt to seem less foreign, never feeling the positive spin of the description “international” except on my university paperwork. At the Carnegie International, I learned about an American cultural phenomenon I haven’t been privy to: the children’s television show Mister Rogers’ Neighborhood, a staple of American childhoods which aired from 1968 to 2001. There’s a local connection—Mister Rogers was from Pittsburgh—but I learned about it from Alex Da Corte’s Rubber Pencil Devil (2018), a house made of neon lights and populated with a three-hour loop of 57 videos in which Da Corte and friends play Rogers as well as other characters, from Bugs Bunny to Big Bird. It’s a colorful, light-hearted installation that encapsulates the exhibition’s attitude, what its curator Ingrid Schaffner calls “museum joy”—the satisfaction of seeing art, in public, and the contemporary work of interpretation, of creating connections and making …