For his recent exhibition, Pierre Vadi presented a group of works realized over the past two years. The pieces chosen, all sculptural, were arranged on the floor and formed a landscape seen from above, an imaginary city map. The elements—their materiality surprising, their colors artificial—intermixed an industrial finish with an intriguing kind of organicism, even a sensuality. The show’s title, “Cplsion Cldestine” (a poetic compression borrowed from the American writer David Foster Wallace), immediately announced the work’s psychological charge.

Arranged in a rigorous grid, the