Georges Adéagbo is a one-trick artist. But the outcome of that trick is endlessly variable. His method consists of making assemblages of objects: mostly books, magazines, newspaper articles, record covers, and wooden sculptures, but also the occasional pair of underwear. These items are pinned to the wall, as in a teenager’s bedroom, with what looks like a contrived messiness: Everything’s askew, with no apparent relation between one thing and another. So open does Adéagbo’s structure appear that for a second you might think you can just pick anything up, perhaps even take it home. But then it

The title of one of Sophie Reinhold’s paintings here, Gewöhne dich nicht daran, 2019—referencing an anti-drug addiction slogan of the German Democratic Republic and translating as “Don’t get used to it”—might also apply to her purposely elliptical practice. The Berlin-based artist frequently works up pale paintings on a ground of jute and marble dust, with pieces of canvas cut out and stitched onto their surfaces to create ghostly figurations, like shallow reliefs on a facade. In this show, “Das kann das Leben kosten” (That Could Cost You Your Life), the chimerical expanse of the opening painting,