Although this exhibition, “Raoul De Keyser: Drift,” curated by Ulrich Loock, included forty-eight paintings spanning four decades, at its heart were the artist’s final works, from 2012: a group of twenty-two small paintings collectively titled “The Last Wall” and installed as they had hung in his studio. Situated on one central pale-gray wall and arrayed unevenly along its entire length, these pieces, like his earlier paintings, tantalized in their rough-hewn, unrefined nature.

The casualness of their grouping accorded with the spirit of their production. For example, Flooded in Brown, 2012,

Imagine a museum display re-creating a trashy psychedelic party whose attendees include Catherine Deneuve dressed as a princess in Jacques Demy’s 1970 fairy-tale film Donkey Skin; Abe Sada, a woman notorious for erotically asphyxiating and severing her lover’s penis in 1930s Japan; and actress Isabelle Illiers, topless and wrapped in chains for her role in The Fruits of Passion, Shūji Terayama’s 1981 takeoff on The Story of O. The fete is staged in a building modeled on a Greek temple destroyed in an explosive apocalypse; the partygoers’ possessions are stored in ziplock plastic bags as if saved

As readers of The Arabian Nights know, carpets can transport us to lands far, far away. Anwar Jalal Shemza’s minute Magic Carpet, 1984, is no exception. Here, a piece of cloth with frayed edges is hand-dyed red, blue, and saffron. A painted geometric shape appears to hover at the center of the fabric. Is this tricolored textile about to fly?

Shemza’s painting is part of a small solo presentation, curated by Leyla Fakhr and Carmen Juliá, dedicated to work the Pakistani artist made in Britain. Encompassing paintings, pyrography on wood, ceramics, and archival material, the display includes pieces