Presented under the title “Temporaldaten” (Temporal Data)—a philosophical term coined by the father of phenomenology, Edmund Husserl—Marion Verboom’s recent exhibition explored the problem of how we experience and describe time. Eschewing chronology, Verboom juxtaposed references to artworks, artifacts, and architecture hailing from far-flung cultures, leaving the viewer to connect the dots—or daten, as Husserl might have said.

At the heart of the exhibition, an installation of five totem pole–like columns from the series “Achronies” (Anachronisms), 2017, evoked the Roman Forum.

If the artistic world of Cécile Beau (who is originally from a cave-studded part of the Pyrenees) feels extremely remote from the human, it is nonetheless imbued with a sense of life. Featuring materials such as air, water, rock, tree bark, and charcoal, her work has an elemental character. As seen in her recent exhibition “Lithique” (Lithic), it amounts to what she calls a “science-fiction povera.”

In the sculpture Albédo 0,60, 2017, viewers found a round vessel filled with a black liquid and a milky substance floating in the middle of it. This fluid is, in fact, a solution of water and Chinese