The dreamlike title of Giovanni Anselmo’s “Lungo it Sentiero Verso Oltremare,” 1997, roughly translated as “Along the path toward the sea,” begins to suggest an agile wanderlust, a kind of a demarcation or passage between here and there. The journey to which Anselmo’s installation alludes is only obliquely geographic; this evocative piece treats in turn physical, professional, and perceptual accounts of passage, and remains impressively inconclusive.

Between two vertical, deep ultramarine stripes (representing the sea or sky?) painted on opposite walls of the gallery, Anselmo ran a long and