Contributed by Jonathan Stevenson / It’s the contrast between the stately simplicity of On Kawara’s plangently arrayed dates and the complexity of the days on earth they mark that makes them so moving. Time passes with spartan uniformity, but what happens within the neat artificial boundaries – hours, days, years, decades, centuries – is extravagantly messy. In her osmotically provocative conceptual exhibition “Father Country I Do Love You” at the Guggenheim, Taryn Simon takes the z axis through the observed world into events many of us don’t want to know too much about lest we walk in fear. While that cryptic title may slant towards the my-country- right-or-wrong, love-it-or-leave-it jingoism turbocharged by MAGA’s willful purge of American history, the show itself waxes consistently ironic and inflects the title with more wistfulness than defiance. The “do” seems grudging.