The final installment of Wael Shawky’s video trilogy “Al Araba Al Madfuna,” 2012–16, proposes a kind of resolution to the first two parts. In Hamburg, the gravity of its purpose was evident the moment the visitor entered the gallery: The room was bathed in a deep-blue shimmering metallic deep-blue light, anticipating the mystical palette of a video projected floor to ceiling. Blue, silvery, and washed-out magenta hues predominate in the film, which is set in and around the temple of Pharaoh Seti I in Upper Egypt, thanks to a peculiar technique the artist has employed, of subjecting the digital