WALKING INTO “Glenn Ligon: Encounters and Collisions” at Tate Liverpool, visitors found themselves poised between Jasper Johns’s 1962 lithograph Painting with Two Balls II and a mid-1970s David Hammons body print in which the artist’s features are framed within an ace of spades. In tandem with that suggestive pairing, the first gallery contained the Cady Noland sculpture Pipes in a Basket, 1989, which comprises handcuffs and a small American flag alongside a handful of pipes; Kelley Walker’s screen-printed painting Black Star Press (Triptych), 2005, based on scanned photographs of civil rights