These days, viewers have to enter art galleries ready for anything. And yet there are still certain basic things they usually do expect to find, such as explanatory shortcuts: either a critical text, a title, or an anecdote about the conception of the work on display that provides a hint of meaning or topicality—or, at the very least, a familiar kind of opaqueness that recurs often enough to reassure us, as viewers, that we are well-moored in the realm of contemporary art. It may be going too far to claim that Cinthia Marcelle’s recent show “em entre para perante”(in between for before)