Fabrice Hyber’s recent exhibition was perversely titled “Interdit aux Enfants” (Children Not Allowed), though it was in fact designed specifically for children, or at least conceived with their small size and big imaginations in mind. Known for his quirky “Prototypes d’Objets en Fonctionnement” (Prototypes of Functioning Objects), 1991–, Hyber here complemented new POFs, mostly modified versions of earlier designs that have been scaled into child-friendly formats, with energetic diagrammatic paintings. Transforming the gallery into an informal classroom-cum-laboratory, with charts and annotations

Renata Har’s Podium, 2014, consists of a found section of green cardboard wallpaper that was damaged in a Berlin apartment fire and left in the street. Nailed to the wall, this tattered object clearly shows smoke damage on its bottom edge, which is folded up slightly, forming a precarious shelf for a pile of black glitter. But rather than sparkling, the glitter seems matted together, almost slimy, like wet ash. In the gallery, it has gradually accumulated on the floor below. In counterpoint to this fragile hanging object, In the Tall Grass Crickets Sing, 2012, offers a similarly folded and