Titled “Entrevendo” (Glimpsing), this career survey of the work of the Brazilian Conceptual artist Cildo Meireles includes pieces from the mid-1960s to the present. It focuses on installations that involve many senses at once. While a good number of the artist’s best-known works—for instance, the series “Inserções em circuitos ideológicos” (Insertions into Ideological Circuits), 1970–, in which antiestablishment slogans are inscribed on banknotes and returnable Coke bottles so as to circulate freely—aren’t synesthetic, certain iconic installations are. Olvido (Oblivion), 1987–89, is a tepee

Titled “Entrevendo” (Glimpsing), this career survey of the work of the Brazilian Conceptual artist Cildo Meireles includes pieces from the mid-1960s to the present. It focuses on installations that involve many senses at once. While a good number of the artist’s best-known works—for instance, the series “Inserções em circuitos ideológicos” (Insertions into Ideological Circuits), 1970–, in which antiestablishment slogans are inscribed on banknotes and returnable Coke bottles so as to circulate freely—aren’t synesthetic, certain iconic installations are. Olvido (Oblivion), 1987–89, is a tepee