Nigel Rolfe’s first solo exhibition in this country is a kind of minisurvey of his previous performances, or rather, their artifactual remains. Though these objects cannot do full justice to multimedia performances that employed projected light, electronically charged sound, video, and slides, they are all that those of us who haven’t seen the original works have to go on. What remains of Dance, Slap for Africa, 1983, is a black cloth map of Africa with a red impression of Rolfe’s naked body awkwardly embracing it. By contrast, in Going Boeing, 1985, a blue figure seems to flee from an equally