Virtuosity in itself is no virtue. If I played Chopin’s Waltz in D-flat major, Op. 64, No. 1 — popularly known as “The Minute Waltz” — in one minute, the result might be a prodigy of dazzling technical agility, but any sense of context, interpretation or nuance would be lost in the blur. (Besides, the piece’s nickname was originally pronounced “mi-NUTE,” as in “small waltz.”) Thankfully, in his mesmerizing exhibition “The Politics of Power,” Tad Lauritzen Wright not only practices virtuosity but also exercises a keen feeling for art history, for the dynamics of erotic and mythic force and for the dire comic possibilities that engage the bleak and brilliant moments when human beings intersect with the gods.

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