In the early 20th century, Georges Braque and Pablo Picasso invented Cubism and shook the foundations of Western art. But in the 1930s, as the rise of fascism brought new urgency to questions of aesthetics and politics, Braque's fractured still lifes and bourgeois interiors remained emphatically inward-looking. Yet Braque's painting was not as separate from outside events as Braque might have it, argues Georges Braque and the Cubist Still Life, 1928-1945, the first major US museum exhibition dedicated to the artist in 16 years.