Spread across the gallery floor in an archipelagic formation, Annette Messager’s installation of twenty-one sculptures arrayed on small padded dollies, Mes Transports, 2012–13, conjured the gory aftermath of a mysterious disaster. Reprising some of the artist’s signature motifs, including dead animals, human body parts, and children’s toys, this work evokes a scene of emergency triage with nightmarish casualties on makeshift gurneys. The strange amalgams of limbs, shoes, birds, dogs, and architectural wreckage—covered with the kind of matte black foil typically used to mask theatrical

Stephen Willats's Super 8 film A Progression of Signs, one component of his mixed-media work In the Beginning, 2011, recalls Hollis Frampton’s Zorns Lemma, 1970. In both films, shots of public space click by in a steady rhythm: street signs, homemade posters, advertising, litter. Frampton gives each of his New York sites a linguistic equivalent, decontextualizing and ordering it as a letter of the alphabet. In contrast, the images in A Progression of Signs remain part and parcel of Lewisham, the London neighborhood in which they were filmed. A newly married couple recorded the footage in the