Andrew Kearney’s first major Irish exhibition in seven years, in his native Limerick, was inevitably billed as a homecoming. While its slightly menacing title, “With Intent,” suggested that this London-based artist had some scores to settle, the five large-scale, technologically complex, and obliquely interrelated installations had less to do with a re-engagement with the once-familiar than with an elaborate and theatrical estrangement of the everyday. This was most evident in the misleadingly titled Silence (all works 2001). A giant white orb, held in place by air pressure, was trapped between