For “Santuarios,” his installation here, Michael Tracy made the exhibition space over as a chapel. He had the main gallery’s high walls painted dark gray and deployed along them, and on bases throughout the room, a large selection of the exquisitely traumatized ritual objects he’s been making during the last ten years. Thick, stumpy cruciform assemblages, crepuscular shrines and paintings, and iridescent bas-relief panels drew illumination from the skylight overhead, bristling in spectral heaps of semipermeable catastrophe, a chthonic mulch.

These lurid memento mori contrasted with the cool,