Exactly how one recognizes this soul isn’t always evident. To be sure, some of the artists address architecture in their work, including Fendry Ekel and Rob Voerman;

while Daan Padmos’s sculpture at the Hudson riverbank references the Netherlands’s experience of being a country partly below sea level. But other artists are less obviously shaped by, or engaging with, the peculiarities of their Dutch environs. Nevertheless, “Double Dutch” does present a coherent picture of a generation of experimental artists that is largely new to the American scene. This picture is playful and dreamy (take the mildly erotic textile paintings by Lara Schnitger) but critical too (Schnitger’s work is also a commentary on women as lust objects.) While the extent to which this relates to de Stijl or the flatness of the Dutch landscape is debatable, the show is still a surprising, well thought-out presentation of what contemporary Dutch art is up to today.