“I always work in a disturbed in situ,” explains French artist Lili Reynaud Dewar, whose solo show here included a large black wall that partitioned the gallery in two. Within this bisected space, which hosted video, sculpture, and photography, she built bridges—deliberately anachronistic ones—between the media of cinema and performance.

Reynaud Dewar’s inspiration was the Black Maria, Thomas Edison’s Kinetograph production studio, which operated for just four years at the end of the nineteenth century. Kinetographs were the very first motion pictures, and the studio attracted hordes of performers