The Hamburger Bahnhof, a former railway station that now houses the Museum für Gegenwart, or Museum for the Present, is intimidatingly large. Seeing so few works of Kippenberger’s on its clinically austere walls is like viewing an eruption through a peephole, but the exhibition still manages to convey that he was a master of many styles—from abstraction to impressionism to realism—as much as a playful, sloppy interlocutor of conceptual games and unceasing appropriation. He was a man of highs and lows who dragged from the spectrum of his own experience.