For her recent show “at least you haven’t changed,” the Berlin-based British artist Juliette Blightman did not show her own work but manifested her refusal to submit to the regime of hyperproduction in contemporary art. She did this by bringing together various items that she had temporarily borrowed from close friends and fellow artists. These included a medium-size Expressionist-style painting by artist Anne Norman (Untitled, 1991), an antique Persian rug (Farghan, ca. 1870) lent by former art dealer Gregorio Magnani, and a vinyl record of a 2005 sound piece by Cerith Wyn Evans that he had

On entering Mark Leckey’s exhibition “See, We Assemble,” visitors encountered the show’s video “trailer.” Before a video-production green screen sat an upturned speaker cone filled with puttylike cornstarch dyed the same bright color. Sound emanated from the speaker, causing it to vibrate and gradually solidifying the material—thus announcing a leitmotif that would run throughout the exhibition: physical transformations brought about through unseen forces. In the video, a Samsung logo drifts across slowly, made surreal by an electrical thrumming. Next, still images consciously depict various