Three generations of Brazilian women are represented in “imannam,” an exhibition that is less a collaboration than a safe shelter of sound, site-specific installation, and film. Visitors are immediately encouraged to bow in the dark—for Snail, 2018, Laura Lima has lowered the ceiling to about five feet—before they reach the rest of the concrete curves of Oscar Niemeyer’s Copan building. Close by is Ana Linnemann’s The studio’s table, 2018, a long supply-chain-like construction of plywood and hinges furnished with books and repurposed objects, including those from her series “The world as an orange,” 2018. These include two pencils that share one core and a sliced, bicolored cup. Startling, yet harmoniously placed in alignment with the plywood and the area around it, these items add to a playful disorientation likely to be felt even by those familiar with this unconventional venue.

In contrast, Anna Maria Maiolino’s videos and sound installations seem to ignore the space they inhabit completely. Look That, 1982–2012, a short Super 8 clip, follows an elated youth roller-skating through New York City’s traffic, subtitled by the frenzied verses of Sousândrade’s chthonic canto “Wall Street Inferno.” More personal is 08/07/2013, from the series “Presentations,” 2013: a single frame of the artist’s eyebrows as she emotionally recounts the story a taxi driver told her about his father’s experience as a refugee, and how it reminds her of Ermanno Olmi’s film The Tree of Wooden Clogs (1978). These fragmented recollections are on par with the labyrinthine nature of the rest. In this exhibition, whose title is an amalgam of the artists’ names, soul instills the inanimate, and viewers moving through the asymmetries of the building will likely perceive subtle connections among the works.

— Cristina Sanchez-Kozyreva