Entering a dark gallery, one encounters a handful of objects, or— as the French title of Nadia Myre’s show, “Tout ce qui reste,” suggests—“all that remains.” They are not so much scattered as deliberately placed, as if to evoke a sacred ritual. All are deeply symbolic: Whether offerings for trade or shrines to remember, each has undergone a meticulous process of handicraft that sanctifies or effaces it.

The atmosphere is one of quiet contemplation, but the histories of the indigenous peoples that these objects reference are violent. An oversize woven basket—large enough to contain