Three large steel sculptures suspended from the ceiling were the only works in Monika Sosnowska’s recent solo show. Titled Gate 2, Gate 3, and Gate 4 (all works 2014), they formed an ensemble as austere as it was opulent, melding a sense of lightness, even levitation, to leave an almost palpable impression of weight. The title Gate is emphatically prosaic, but given the degree of defamiliarization and deformation, it might equally be considered an attempt at mystification. How these free-hanging steel constructions might represent portals, points of access, or passages was hard to see at first.

Daniel Pflumm’s exhibition at Galerie Neu—his first solo show in fifteen years at his Berlin gallery, featuring his first new video works in more than a decade—had the makings of a comeback. Pflumm built a reputation in the club scene of post-1989 Berlin, launching the now-legendary techno venues Elektro and Panasonic. By the turn of the millennium, he was gaining more and more recognition in the art world, which thrilled to his fast-cut videos and light boxes with gutted brand logos. Then, suddenly, the artist disappeared from view. A lot has happened since then: The city, technology, and the