What would Pier Paolo Pasolini say today about the Italy he denounced so passionately all his life and that now, after so many years under the thumb of Silvio Berlusconi, leaves even less space for any alternative to what he called the “stereotyped and false” construct of an “official Italy”? “That acculturation and homologation that fascism didn’t manage at all to bring about,” Pasolini said, “is now perfectly achieved by . . . the power of the consumer society . . . emptying out the diverse ways of being human.” Alfredo Jaar’s Le ceneri di Pasolini (The Ashes of Pasolini), 2009—its title

Covering the floor of this private foundation’s neat L-shaped space with twenty smooth sheets of fine, sand-colored linen, Guillaume Leblon, for the first time, positioned his sculptures in relation to a traditional painterly platform. The presentation of seven new and recent works, united by this common backdrop as a single textured and permeable composition, echoes the construction of the exhibition’s title work, Black Apple Falls, 2009–11. For this sculpture, punctuated by a darkened piece of fruit suspended from the ceiling by a thick piece of rope, Leblon arranged a series of objects across