A series of stylishly sinister oppositions set the scene for this exhibition by German painter Katja Seib, in which real and imagined portraits merged with a mannered symbolism. The self-conscious, carefully rendered large-scale works downstairs contrasted with more informal, and generally much smaller, paintings upstairs. Within the context of this pristine blue-chip gallery space, Seib’s works’ deceptive ambiguity existed as a glitteringly corporate criticality that posed paradoxical questions around painting’s relation to time. The exhibition’s title, “dear diary,” hinted at the revelation

Kris Lemsalu staged our passage from womb to tomb as a drama of bewilderment, full of improbable ecstasies and strange metamorphoses. In three installations, each occupying its own room in the Estonian artist’s exhibition “4LIFE,” viewers could feel Lemsalu pushing at the squishy, shifting membrane between the fantastic and the quotidian, as they were guided—as if by some sense-deranging shaman on an LSD-induced rebirthing trip—through the milestones of existence and the shared struggle for meaning.

In HOLY HELL O (all works 2018), psychedelically colored mannequins plunged like Olympic divers

If I had to select a favorite scene from the two unforgettable films in Beatrice Gibson’s exhibition “Crone Music,” I’d choose the closing sequence of I Hope I’m Loud When I’m Dead (all works 2018), which shows the artist and her five-year-old son, Obie, dancing wildly to Corona’s 1993 disco anthem “The Rhythm of the Night.” The film takes its title from a poem by CAConrad, who appears in it alongside Eileen Myles. Inspired by the final scene of Claire Denis’s 1999 film Beau Travail, which saw actor Denis Lavant breaking into a frenetic solitary dance to the same song before the mirrored walls