Steve Bishop’s installation Deliquescing, 2018, greeted viewers who entered from the left staircase with a cloud of mist, both literal and metaphorical. The real haze was rising from a pair of ultrasonic humidifiers, which, like the rest of this five-part excursion, registered as part of a nebulous clinical environment constructed from false walls—wooden frames shrouded in semiopaque polyethylene tarp—and divided up by PVC crash doors. The drifting vapor’s import was hinted at straightaway by a scrolling text, in all caps, on a wall-mounted monitor. The text recounted its narrator’s difficulties

Seeing a reproduction of Louise Bonnet’s painting The Pond (all works 2018) on the invitation to her exhibition made me both curious and skeptical. It shows a woman posing in an uncomfortable, if not impossible, backbend curve, her form conjuring a shortened bridge, with her hands and feet under water. What we mainly see is a large body against a dark background. Face and individuality are hidden behind physicality. Firm, outsize breasts point straight up toward the sky. It is certainly a weird scene—but I couldn’t decide if it was weird as in interesting, or more like a cartoon or a forgettable