The Kunsthistorisches Museum in Vienna holds one of the strongest concentrations of Flemish and Netherlandish painting outside the Low Countries themselves, and the Aertsen panels in its collection are among the least-celebrated works in a building that also contains Bruegel’s Tower of Babel and Vermeer’s Art of Painting. That context matters. Hung among dynastic portraits and Italian altarpieces, the market scenes register their strangeness more clearly than they would in a museum organized around genre painting as a category.