The five freestanding canvases that make up Laura Owens’s Untitled, 2015, were arranged in a diagonally angled row, like a scaled-down painterly cousin of Richard Serra’s Promenade, 2008, or a scaled-up line of ready-to-fall dominoes. This setup encourages viewers to walk around and among them, inspecting their lively versos. Still, there is only one technically correct viewpoint. Look down the sequence from its head, fine-tune your position by shuffling your feet, and the visible overlapping fragments of text printed on the frontages—texts whose point size grows as the paintings recede,

As if to recall the consistency of his project over the decades, some of the works in Thomas Locher’s exhibition “Post-Information” were as much as twenty-five years old. Gestell (Frame), an aluminum shelf engraved with letters, numbers, and black rectangles, dates from 1990. A.1–Z.2, a wooden board on which horizontal black bars as well as letters and digits are inscribed, is even older, from 1989. On the facing wall were two reliefs, composed of rectangular panels of varying thickness painted in different colors. Each is marked with a letter. Insisting on their objecthood and defying any