For his first solo exhibition in France, “Cartografías para navegantes de tierra” (Cartographies for Navigators of the Earth), Enrique Ramírez, a Chilean artist based in Santiago and Paris, presented work that navigates the vast distances in between. Nearly all the works featured Ramírez’s writing—prayerlike Spanish prose—often set to the rhythm of waves.

La invención de América (The Invention of America), 2013, a Dacron sail made by the artist’s father and a separately framed text, functioned as a central icon. Inverting the worn triangular piece of material and containing it within

Analia Saban’s two recent suites of work, both from 2014, blend techniques and materials traditionally considered exclusive to either painting or sculpture. Belonging to neither practice entirely, they comment on both.Big Bang Series (in Ten Steps), for example, which spanned the gallery’s front wall, puts sculptural materials on top of a standard painting support. The work consists of ten twenty-by-twenty-six-inch canvases, each coated with a thick layer of cement and inlaid with fragments of black marble. Taken in sequence, these objects demonstrate several simultaneous progressions. In the