In the last room of Haris Epaminonda’s exhibition “VOL. XXVI,” which opened this past April, a few weeks before the artist won a Silver Lion at the Venice Biennale, viewers found themselves facing the enigma of Untitled #15 t/g (all works 2019). A small vase and a slender metal structure were set atop a rectangular swath of gilded paper. A single palm leaf fluttered down from one of the metal bars. A few feet away, a white stucco panel leaned against the wall. Jutting from behind it was a snippet of an illustration from an old atlas, showing a young woman twirling on a swing on a red-figure