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Today the institute is in the process of unerasing itself. On Nov. 23 it is to reopen to the public after a $158 million expansion by the architect Michael Graves. Curators are reinstalling the museum’s encyclopedic collection, remolding the way the public experiences the art in the hope of attracting new visitors. In tandem with the opening the museum invited Ms. Mehretu, 36, to address Detroit in some way by creating work for galleries adjacent to the Rivera frescoes. She produced five new paintings, joined by seven other recent Mehretu works called “City Sitings.” “Diego’s murals also deal with these issues — in a very different time — of what Detroit was,” Ms. Mehretu said. “That overlap and conversation make it an exciting place to do a show.” Ms. Mehretu’s personal history is entwined with the exhibition as well. Born in Ethiopia to an American mother and Ethiopian father who is an economic geographer, she lived the immigrant’s experience when her family moved in the late 1970s to East Lansing for her father’s teaching position at Michigan State University. She was 7 years old. “Detroit was where we went for everything, including all those hours of waiting for my father to go through the green card process,” Ms. Mehretu said. She remembers visiting the Detroit Institute when she was very young and trying to make sense of big Color Field paintings as well as Rivera’s murals, which she found then to be very surreal and ornate. “At that time there were was nothing else going on in that area around the museum,” she said. “This big beautiful Beaux Arts building was on a street with abandoned stuff and homeless people. It was a really different image than going to the Art Institute in Chicago in its bustling, active context.” Black City, by Julie Mehretu Ms. Mehretu simultaneously layers the personal and the universal, the local and the global, in the maplike language of her recent paintings. “I’m really interested in the nondefinitive element of abstraction,” she said. “It never is a black-and-white situation.” The starting point for her new paintings in “City Sitings” was architectural plans of fortified cities throughout history. For the largest work, “Black City,” at one end of the show, Ms. Mehretu layered drawings of structures from those in early Japan and Mesopotamia to Hitler’s Atlantic Wall bunkers along the French coast. While she doesn’t expect viewers necessarily to identify all of the elements in her paintings, they form what she calls their DNA and affect how they develop. For her the fortress mentality is vital to understanding not just urban history but contemporary social problems as well. “I was thinking of this instinctual response to being attacked, the reactionary response to immigrant labor,” Ms. Mehretu said. “I’m interested in looking backwards in time, and putting the United States’ behavior in the world right now and the coming together of the European Union as a fortress in a context and history of behavior.” In her paintings she also considers her “self-ethnography” within a communal context. “It’s also looking back at who you are as an individual,” she said. “You’re not just this person who’s from your own specific experiences, but the collective experience of what makes you who you are because of time.” On top of the architectural layers in “Black City,” as she typically does in her paintings, Ms. Mehretu drew flocks of small abbreviated marks. For her, they operate socially, as surrogates for people or communities; they move in collective trajectories toward the center and then erupt back out. Hilarie M. 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