The title of curator Francesco Bonami’s installment of the second SITE Santa Fe Biennial—“TRUCE: Echoes of Art in an Age of Endless Conclusions”—waves a white flag and suggests that viewers approach the exhibition with an olive branch. Neither grand conclusive claims nor particularly new strategies were to be found. Leaner than the first SITE Santa Fe Biennial in 1995, this year’s installment featured an international cast of young artists—so young, in fact, that South African William Kentridge, born in 1955, came across here as an elder statesman—working within the frameworks of strategies