The seven Indian and American artists (all women) whose work was included in “Ada or Ardor” tend to organize relics of family, love, and travel into large, systems-based works composed of small units. Each artist displaces or fetishizes humble or hidden objects, which range from train timetables and household cookie-cutters to soft-core porn. What links Jennifer Bolande’s psychedelic, digitized Iris prints of votive forest shrines, Chrysanne Stathacos’ daguerreotype erotica transferred onto rose petals, Judy Blum’s 108 names of the Ganges (e.g., “melodious or noisy” or “white as milk”) entered