For years, objects recovered from the streets and sidewalks surrounding the places where Ida Ekblad produces and exhibits her work have found their way into her oeuvre. Here in Paris, her work also opens itself to the perhaps more ephemeral attributes of a certain local form of femininity. In this gallery on the rue du Temple, one found an alluring, exuberant group of six paintings and three sculptures—works sprung from Ekblad’s poem “Step Motherfucker,” the title of which was also the show title. The artist’s rhythmic lines picture a phantasmagoric woman: “She worked in a small art

A gas pump with two backward-counting clockfaces in place of a meter (Time Pump, all works 2017) established the theme of time travel in Justin Fitzpatrick’s recent show. Suggesting ghosts from the past poking urgently into the present, several white-cast resin fingers protrude from the braided-rope base of the sculpture. Creepy though this imagery may be, the inspiration for Fitzpatrick’s work is not science fiction, but rather a cult historiographical text by author and activist Arthur Evans, whose 1978 book, Witchcraft and the Gay Counterculture, argues that accurate accounts of gay culture