Based in Los Angeles for the past decade, the Brazilian artist Clarissa Tossin makes sculptures and videos in which she places architecture and site at the center of investigations into exchanges that are at once cultural and economic. On first glance, Tossin’s recent show “Maya Blue”—featuring sculptures from the series “The Mayan,” 2017–18, and “Encontro das Águas” (Meeting of Waters), 2016–18—could easily have been mistaken for an unorthodox post-Minimalist display of anthropological artifacts. In New Grammar of Form #1, 2018, from the latter series, for instance, woven baskets in the style