For anyone familiar with Tove Jansson from the Moomins alone, the most surprising works in the exhibition—which aims to rectify the fact that less attention has generally been paid to her range as a visual artist—will be her early self-portraits and her wartime political cartoons. The exhibition’s progression has two somewhat contradictory results. On the one hand, by opening with unfamiliar parts of Jansson’s oeuvre it emphasizes her breadth. On the other, it gets that out of the way before moving on to better-known material. Its momentum ends up flowing toward the Moomins rather than away from them.