INCERTEZA VIVA means “live uncertainty” in Portuguese. As the title for Jochen Volz’s São Paulo Bienal, this phrase positions the show as the latest in a series of recent, loosely like-minded international exhibitions—from Nicolas Bourriaud’s 2014 Taipei Biennial, “The Great Acceleration,” to Okwui Enwezor’s 2015 Venice Biennale, “All The World’s Futures”—that have variously engaged the topics of eschatology and the Anthropocene. Although the most significant art-historical story of the past decade is the market’s supremacy over all aspects of contemporary art, the urge to intellectualize

At first sight, “Compressões,” (Compressions), the first solo exhibition in Brazil by Boston-based Slovene artist Tobias Putrih, seemed to pay homage to the gallery’s own iconic town house, designed by Rino Levi and completed in 1959. The show featured thirteen suspended screens made from cardboard, plywood, metal, wooden clothespins, and elastic. Hung adjacent to a central pergola that created a setting for conversation, they coexisted gracefully with a beige-tiled open fireplace and a tropical garden designed by Roberto Burle Marx. The screens’ formal appearance echoed the conjunctions of