On entering Ricardo Alcaide’s solo show “Settlements,”I was struck by a sense of déjà vu. As my eyes scanned the large industrial warehouse where it was installed, I saw bare walls and a floor dotted with dozens of groupings of discarded materials—cloth, cardboard boxes, plastic bags, pieces of wood, and so on. In downtown São Paulo, it’s not unusual to come across similar objects piled on the sidewalk. Here, some were also placed on freestanding steel shelves used to bisect the space and hold some of the smaller artworks; the shelves were installed diagonally across from the entrance in