What tied together the works in Dominique Blais’s exhibition “La fin du contretemps”(Turning Off the Offbeat)—orchestrated more than installed in the space—was an irregular but precise rhythm encompassing both visual elements and sound. Rhythm, whether audible or visible—the two types do not necessarily go hand in hand for this artist—can mark time. Even the faintest sounds, or entirely inaudible ones, have this effect. In Morphée (Morpheus), 2018, an opaque sound-absorbing fabric covers what appears to be a harpsichord; we hear no sound, and it’s impossible to tell whether

Olympe Racana-Weiler announces a gut craving, a physical manifestation of desire and ambition, in the title of her first solo exhibition, “I came back from paradise and I’m frankly hungry.” The phrase also alludes to a return from another realm, a passage that might be a kind of metamorphosis, evocative of Ovid’s compendium of transformation myths. In a published conversation with Jim Dine, with whom she works as a studio assistant, Racana-Weiler tells of her own metamorphosis into a painter, and cites the ancient text. In this context, Racana-Weiler also speaks briefly about dancing as a child.