A sort of musical cadence structured this installation of recent works, just a few in each of the gallery’s six rooms, featuring Marisa Merz’s familiar materials—copper wire, oiled paper, lead, clay, glass, gold leaf, wood—and themes. There were pauses and accelerations, and unexpected voids. In Untitled, 2004–2007, weavings of copper wire hung between the walls like the lines of a pentagram, delineating an oblique triangulation and leading the viewer’s gaze toward a corner of the room where one saw . . . absolutely nothing. It is here, in the margins, where every noise falls silent, that Merz