Caro Niederer made good use of the limitations inherent in exhibiting in a single room by creating a microcosm of her work since the mid-’90s, from the series “Brown Paintings,” 1997–2003, “Interiors,” 1984–2003, “Wall Carpets,” 1993, and “Shelves,” 2001–2003. Though tightly hung and confronting the viewer with an initially surprising mix of media and styles, the various works gradually revealed themselves as parts of a fluid, self-referential artistic practice. The “Brown Paintings”—like Kinder auf Schwanschaukel (Children on a Rocking Swan), 1999, a small work depicting the artist’s son—are