Candice Breitz’s first North American survey, “Same Same,” debuted the initial three installments of “Factum,” 2009–, a series of intimate, understated video installations that mark a departure from her trademark engagement with global pop media. Commissioned specifically for this exhibition, the works comprise marathon interviews with seven pairs of identical twins (and one set of triplets) conducted by Breitz in Toronto last spring. Taking its title from Robert Rauschenberg’s pair of nearly identical paintings from 1957, Factum I and Factum II, and exhibited on three diptychs of flat screens,