Davide Balula’s exhibition “A journey through you and the leaves” took up too much space, given how little there was to see—his intervention seemed to empty rather than fill the gallery—and yet the space was revealed as barely sufficient, if one considered the invisible component that was an integral part of the work. The show consisted of a series of seventeen plastic-and-metal sculptures, “Coloring the WiFi Network,” 2014–, antennae covered in industrial paint, which emitted a Wi-Fi signal with the help of a modified router installed on the floor, unconcealed. Most of the sculptures

Simone Fattal abandoned Beirut in 1980, when Lebanon was mired in civil war. Leaving her home, her studio, and her painting practice behind, and settling in Sausalito, California, the Syrian–born artist enrolled in a sculpture course. One day, her teacher said to her, “Here is the earth. She is alive.” Fattal quickly embraced terra-cotta as a medium.

At the entrance to Fattal’s exhibition “Sculptures and Collages,” four upright figures in terra-cotta (all dated 2011) stood, seemingly headless, with abbreviated torsos, on neat metal plinths. The sculptures, which the artist often refers to as

With more than seventy works borrowed primarily from French public collections, Hervé Télémaque’s recent retrospective reaffirmed the significant institutional support the Haitian-born artist has received in his adoptive country. Télémaque, who arrived in Paris via New York in 1961, has produced a body of work—paintings, sculptures, collages, drawings, and assemblages—that is as aesthetically diverse as it is thematically consistent. Chronologically tracing the development of Télémaque’s unique lexicon—a blend of island motifs, pop-culture iconography, and art-historical