"Things fall apart; the center cannot hold.” This line, from William Butler Yeats’s 1919 poem “The Second Coming,” is often resurrected in today’s political landscape, expressing the decline of centrism and the unraveling of established ideologies. Rather than lament the precarity of the center, however, “Le centre ne peut tenir” (The Center Cannot Hold)—curated by François Quintin with Charles Aubin, Anna Colin, and Hicham Khalidi—asked visitors to reconsider the value of centrality. The show displayed work by eleven artists that revealed how binaries fail to capture social and physical

English is Naoki Sutter-Shudo’s third language, following French and Japanese, which may help explain why the Los Angeles–based artist’s practice in painting and sculpture evinces such sensitivity for the interstices between one language and another, for those words that do not have precise correspondences in another idiom.This appreciation of nuance also informs the title of his recent exhibition, “Mœurs,” which refers, in French, to both customs and morals. And within the etymology of mœurs a sense of measurement and rule, of moderation and modesty, reverberates.

In one of the works in the