For her first solo exhibition in Paris, Aleksandra Mir—Polish-born, a Swedish citizen, and a New York City resident since 1989—festooned Galerie Laurent Godin with every variety of Mexican kitsch: paper flowers, salad bowls of plastic fruit, bread, and alphabet letters; a skeleton in a suit seated in front of a laptop; cacti painted on the wall; hanging bird cages with little bird skeletons; about a dozen pasted images of the defunct Concorde supersonic jet over headshots of Che Guevara; floral designs in kindergarten colors; found posters; collages of magazine pictures; notebook pages outlining

There is always more than meets the eye(s) in Marco Poloni’s photos, videos, performances, and the multimedia setups he calls “observation devices” (dispositifs d’observation): All serve to confront us with our perceptual and conceptual blind spots. A particularly concise defense and illustration of the Poloni method is his ninety-second video Mister Locke, . . . , 2002, which dubs a voiceless FBI webcast of what may or may not be a suspected terrorist with an excerpt from the sound track of Michelangelo Antonioni’s The Passenger (1975), where an African opposition leader turns the camera—and

Although “Images de l’Inconscient” presented 181 works by six artist-patients from the collection of the Museu de Imagens do Inconsciente in Rio de Janeiro, this exhibition paid homage to the work of its founder, Dr. Nise da Silveira (1905–1999)—a devout admirer of Carl Gustav Jung—who might be called an “incurable” psychological materialist. Following in the footsteps of Hans Prinzhorn, author of the groundbreaking 1922 study Bilderei der Geisteskranken (Artistry of the Mentally Ill), and of Jean Dubuffet, she perceived the works of her patients to be “self-portraits of psychological situations,”