Episode No. 207 of The Modern Art Notes Podcast considers two major exhibitions that examine the art of Weimar Germany with the curators of each show: Stephanie Barron and Olaf Peters.

Barron is the curator of “New Objectivity: Modern German Art in the Weimar Republic, 1919-1933,” which is on view at the Los Angeles County Museum of Art through January 18, 2016. The exhibition examines how artists turned away from expressionism in order to find new ways to express their skepticism about the directions in which German society was going in the years after World War I.

This is the sixth in a series of major exhibitions of 20th-century German art that Barron has organized at LACMA. The catalogue for “New Objectivity” was published by Delmonico/Prestel, and was co-edited by Sabine Eckmann.

Peters is the curator of “Berlin Metropolis, 1918-1933” which is at the Neue Galerie in New York City through January 4, 2016. It examines Weimar cultural activity in Berlin, the German capital and the country’s major business center, through painting, photography, drawing, sculpture, college, architecture, film, advertising and fashion. The show’s excellent catalogue was published by Prestel Verlag.

Air date: October 22, 2015.

Aenne Biermann, Ficus Elastica: Rubber Plant, 1927.

Wanda von Debschitz-Kunowski, Sewing Machine, ca. 1930.

Otto Dix, Card Players, 1920.

George Grosz, Eclipse of the Sun, 1920.

Christian Schad, Boys in Love, 1926.

Georg Scholz, Cacti and Semaphore, 1923.

Karl Volker, Picture of Industry, 1924.

Werner Peiner, Resy, 1928.

Christian Schad, Two Girls, 1928.

Otto Dix, Half-Nude, 1926.

Max Beckmann, Film Studio, 1933.

Advertising photocollage for “Berlin Die Sinfonie der Großstadt,” 1927.

Mies van der Rohe, Friedrichstrasse Skyscraper Project, Perspective of Northeast Corner, 1921.