During Bice Curiger’s 2011 Venice Biennale, Tintoretto’s complex spatial structures and supersensory lighting dominated the entrance to the central pavilion in the Giardini. But facing them was a white wall with a small label identifying it as the site of a painting by Bruno Jakob that had already evanesced, existing only in the artist’s recollection or the viewer’s imagination: Jakob paints with water or vapor, or by endowing a raw or primed ground with mental substance. His most recent exhibition, “Hovering and Pulsing,” assembled works created between 1986 and the present to survey a microcosm