The title of Sara Hunsucker’s exhibition, Dogmatic Fanfares Always Succeed is derived from a banner raised above the bizarre carnivalesque scene in James Ensor’s 1888 painting, Christ’s Entry into Brussels in 1889, which reads FANFARES DOCTRINAIRES / TOUJOURS RÉUSSI. Ensor’s crude and heavy-handed painting provides a scathing social commentary. At the cusp of modernism, the satirical painting mocked everything from romantic nationalistic paintings to religion, imperialism, an