Visitors to the 2013 Venice Biennale will remember Shinro Ohtake’s numerous scrapbooks in the lower level of the Central Pavilion. Displayed in glass cases, these open tomes radiate charm through their density of accumulated colorful papers. Each is as much an expression of mass and obsessiveness as it is of collage technique. Ohtake’s first comprehensive UK show focused primarily on his series “Time Memory,” 2011–14, and also included works from his series “Retina,” 1989–94; “Frost,” 1989; and “Cell,” 1989–90. Like his scrapbooks, the works in this exhibition suggest a combinatory mentality

Cécile B. Evans’s recent exhibition “Hyperlinks” centered on a roughly twenty-three-minute looped video, Hyperlinks or it didn’t happen, 2014, which was shown in the corner of the gallery on a flat screen positioned in front of a carpet. The carpet was an invitation to sit down, put on a pair of headphones, and engage with “Phil,”a digitally animated dead ringer for the late Philip Seymour Hoffman, who narrates a vast exploration of how grief is transmitted, circulated, and archived through digital culture. Donning the headphones felt like an act of connection in which the physical space of the