Gerhard Richter likes to distort reality, even if those distortions end up looking photorealistic. Whether he is blurring a canvas with a squeegee, overpainting a photograph, creating intense grids of color or a seemingly traditional still life, he is asking questions about reality. His Two Candles (1982), for example, looks like a scholarly study, but it’s also a front for something political and punkish—especially given Richter’s time growing up in East Germany under the false realism of the G.D.R. The show at the Fondation Vuitton features works from across the artist’s career, including paintings inspired by the composer John Cage, and Richter’s 1973 five-part series “Annunciation After Titian,” which involves the reproducing and progressive dissolution of Titian’s masterpiece. —Jimmy Lux Fox