Polish-born artist Maria Loboda, who now lives in London, retraces modernity’s footsteps and delves into history, art, and literature by bringing her personal experiences into dialogue with a somewhat eccentric approach to science: She assumes that art can accept what empirical research rejects. The project may not sound unfamiliar, but Loboda gives it a fresh twist by blending these mainstream interests with something more unusual in contemporary art—a profound fascination with transcendental perceptions of temporality. Loboda’s personal universe is stuffed with references to the paranormal.

The question of the relationship between children’s art and that of adults has long interested Antonio Ballester Moreno. At a previous exhibition here, titled “No Future,” he showed drawings he himself had made as a child. The background to “No School,” his most recent show, was a workshop that Ballester Moreno gave, in which participants attempted to do away with learned technique and acquired sophistication in order to make something much simpler, something more akin to the art of children.

“No School” featured the pieces made by participants in the workshop along with a single sculpture. Just