The faded wood cladding of a backyard shed. A rain-washed bulletin board of lost, overlapping messages; the close-up detail of a Braque painting in a typically Cubist palette of blues, grays, and browns; the innumerable rooftops of a distant, crowded city: Matt Bryans’s architecturally scaled installation, formed by squarish, mosaic-like pieces of newsprint, conjures multiple images in varying scales. For this untitled work, dated 2006, the artist cut color photographs from newspapers, then proceeded to partially erase them—sometimes randomly, sometimes following the contours of the original

For his solo debut, “Jaime Gili Makes Things Triangular,” the London-based Venezuelan artist made good use of Soho gallery Riflemaker’s funky, atmospheric exhibition space. Still redolent of the gunsmith’s shop it once was, this is no white cube. And for heaven’s sake watch your step on the treacherously dark stairs to the basement viewing room. Gili installed his paintings chockablock, with massive freestanding ones dividing up the room and black-and-white offset posters covering the ceiling. It was as if he wanted each work to distract us from the others: The effect was somewhere between the

The ambiguous finale of the ’60s cult British TV series The Prisoner finds leading man Patrick McGoohan’s character, Number Six, apparently freed from the mysterious allegorical village he’s been trapped in and returning to his former metropolitan life. In Nathaniel Mellors’s 16-mm film (transferred to DVD) MACGOOHANSOC, 2005, a steely young Englishwoman claims to be “the body of Patrick McGoohan”: Not his spirit, not the fictional spirit of Number Six, but the physical form of the actor (who is still alive). Such compound perplexity is typical of Mellors’s gravitation toward points at which