Tony Oursler has taken Belgium by storm. “Glare Schematics,” at Galerie Albert Baronian, one of two impressive exhibitions recently on view in that country, was a crowded and outrageous mixture of works on paper and mixed-media sculpture, depicting happy people, devils, talking masks, and more. Among the sculptures were four wall-mounted, branching metal structures that evoke family trees—send-ups, maybe, of the seriousness of those who try to go back in time and rediscover their forefathers. In Oursler’s world, this is a perfect starting point for putting together sometimes absurd combinations