In “Zephyr,” an exhibition bringing together a decade of work, Amnon Ben-Ami stealthily assumed an aesthetic nonchalance to suggest how difficult it is to communicate ideas and remind us of how intricate the processes of looking and knowing can be. However light and schematic his touch in a painting such as Sole, 2011, and however insignificant its subject, the work’s impressive scale forces a moment of reckoning; and while the bonding of two pieces of wood is demonstrated with the greatest possible literalness in Gluing, 2010, his paintings and sculptural objects are far from simple. Levity,