“Here everything is fine,” proclaimed the cheerful title of Abir Karmakar’s recent show. Yet clearly this assurance was not meant to be taken at face value. Lying in wait in the gallery were five works, including three large-scale installations, that conjured the feeling of a topsy-turvy world. Fashioned out of canvas and wooden stretchers, mimicking in some ways the sets in a theater, each of the three big L-shaped structures served to depict the interior of a home of a migrant family in Vadodara, India, where the artist lives. In the floor-to-ceiling oil-on-canvas Here everything is fine II