Having gained wide recognition for sewn canvases and tile platforms that are reminiscent of hard-edge geometrical abstraction and sometimes double as theater sets, in her recent works Sarah Crowner continues combining and recasting modernist abstraction and applied arts, but in ways that evoke the curvilinear forms and colors of nature. The eight sewn canvases and two tile pieces in the exhibition “Plastic Memory” transported the viewer simultaneously into the cool white-tiled Futurist-influenced interiors of Italian designer Nanda Vigo, such as the one she devised for Lo Scarabeo sotto la Foglia

Michael Stevenson’s installation Signs & Wonders, 2015–16, has a lot to do with flight, and is now something of a frequent flier itself. Having previously been shown at Kunsthal Charlottenborg, Copenhagen, and Midway Contemporary Art, Minneapolis, it touched down at Carl Freedman’s relatively small London space in June, in a compressed form. Four boxy structures resembling low-tech 1980s-era flight simulators were crammed into the gallery, their front ends parked up against freestanding projection screens showing computer-generated video loops: pilot’s-eye views of flights through banks of cloud

Almost exactly a decade before Christodoulos Panayiotou opened his recent show “False Form,” the Cypriot artist convened a roundtable at the University of Oxford among an astrophysicist, a historian of antiquity, a philosopher, and an artist, Jem Finer, on the theme of absence. The antiquarian introduced negative theology as a way to think beyond reason; thus the Christian tradition, she explained, asks questions relating to what God is not.

The notable sparseness of “False Form,” with its five unwrapped panels—their gilt edges showing—stacked facing the wall protected by U-shaped foam