PAFA's latest exhibition takes its name from one of the works on display, a Gerald Murphy painting that pays tribute to his home in the south of France, where he and his wife were the epicenter of a group of American expats during the interwar years (F. Scott Fitzgerald was a frequent guest). The name fits; Villa America, composed of about 75 objects (paintings, sculptures, works on paper) from the extraordinary collection of Minneapolis businessman Myron Kunin, is an homage to American art in the first half of the 20th century. The show is subtitled "American Moderns, 1900-1950," although not all the artists are those immediately thought of as modernists — Paul Cadmus, for instance, with his homoerotically charged scenes of American life, and the expressionist work of Philip Evergood. Other artists, such as Stuart Davis and Marsden Hartley, were more influenced by their European contemporaries (and their presence provides a nice counterpoint to the Whitney's Hopper-heavy retrospective. Ooh, I said it!). And let's not forget Alice Neel, Georgia O'Keeffe and George Tooker. Fifty years of great social upheaval and the art that came with it: You just can't go wrong here.

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