Situated within a performing-arts complex, Derrick Adams’s exhibition “The World According to Derrick: Performative Objects in Formation” synced nicely with its surroundings. The show, organized by art historian (and Artforum contributor) Nuit Banai, tracked more than a decade of the New York–based artist’s production, dating back to his student days. From the beginning, Adams has invested his work with a high degree of performativity, though to call him a performance artist would be too limiting. Rather, he fluidly traverses the categorical distinctions typically drawn between performance and