The title of Tatiana Trouvé’s recent show “From Alexandrinenstrasse to the Unnamed Path” referred to the location of Johann König’s beautifully renovated Brutalist church, and it seemed to predict a course from the known into the unfathomed. Aptly so: A comparable process was encoded into every artwork here, building toward one compound estrangement, and the Italian-born, Paris-based artist seemed conscious of putting viewers through their cognitive paces. Like a planned workout, albeit for eye and mind, her arrangement of works for St. Agnes’s spectacular high-ceilinged nave started gently

This recent exhibition by Berlin-based Irish artist Mariechen Danz was titled after its central piece, Womb Tomb, 2014–15, a sculpture of a naked human figure resting in a supine position with eyes open, mouth closed. There were some peculiar things about this apparition—for instance, there was no clear sign of its gender, and its intestines and heart were visible on its surface, as if its skin had been removed. It appeared somehow as a colorful alien, or a mummified being of some sort, while at the same time putting one in mind of an operating room or even a morgue. Differences in ambient