The Berlin-based turbo-Conceptualist Thomas Locher has explored the rules that govern language since the late 1980s. His credo: Art is a matter of the text. In his recent show “Homo Oeconomicus,” Locher (always an advocate of strict order) lined up his works along the right side of the room, where one could scan them right to left; the remaining walls were bare. This exceptionally disciplined gallery installation reflected Locher’s commitment to rigorous formal consistency—a real case of bullheadedness, the easygoing Viennese would say. As suggested by the title, the works on view examined