The poetic gestures in Vlatka Horvat’s exhibition “Supporting Objects” made visible the traces of the absent artist’s body while responding to the elegant interior of Eastwards Prospectus, a gallery set in a nineteenth-century villa that strikes a sumptuous, bourgeois note far from a white-cube or industrial ambience. The gallery’s three rooms each featured an installation incorporating one or more wooden tables, or parts thereof, many rescued from Bucharest flea markets and bearing marks of their previous use; several had been patched together out of different kinds of wood, witness to alterations