Marc Camille Chaimowicz usually imagines interior spaces for human inhabitation; for the exhibition “Forty and Forty,” he instead created an environment for “free-range” canaries to inhabit. The installation incorporated two works each by Klara Liden and Manfred Pernice alongside several of his own. As I approached the gallery—situated in a stark concrete building in the courtyard of a typical Berlin Plattenbau (a kind of housing block built from prefabricated concrete slabs) in Mitte—I was drawn toward the space by the high-pitched birdsong that rang through the open door. What I

There wasn’t much to see in this exhibition: just four works spread throughout the gallery’s three rooms. The first was Monika (all works 2014), a large, rough-hewn stone, set on a mantelpiece; the second, Ulrike, the silhouette of the interior space of an arch, cut from a sheet of rubber; and the third, down the corridor past the offices, a color woodblock print with pastel-colored wood grain, titled Lena. The names represent three generations of women: Monika, the wife of the legendary Düsseldorf gallerist Alfred Schmela; the couple’s daughter Ulrike; and their granddaughter Lena Brüning (who

Park McArthur’s exhibition “Passive Vibration Isolation” needed just three straightforward elements to broach a topic both urgent and far-reaching. In Lars Friedrich’s new, though perhaps temporary, ground-floor space, five loading-dock bumpers hung on the walls surrounding five steel stands draped with pajama pants. Extending a narrative concerning access that McArthur had already introduced with “Ramps,” her widely acclaimed exhibition at Essex Street in New York last year, “Passive Vibration Isolation” looked at the interaction between a body and the environment it inhabits. Here, access led