The art critic and curator Eric Troncy’s show “Coollustre” ends with a beastly prank. Minimal, conceptual, and made entirely of Plexiglas except for its cushion, a dog bed sits enthroned at the end of the exhibition, the perfect culmination of the history of modern, postmodern, and contemporary art, by way of the economy of fashion, Sol LeWitt’s cubes, Dan Graham’s glass pavilions, and the relational aesthetic.

A true provocation, open to multiple interpretations, the ne plus ultra of recycling, Gucci Dog, 2003, is typical of Troncy’s exhibition practice. In “Coollustre” (a title borrowed from