A wide, waist-high white plinth stood in the middle of the narrow front room of the gallery. Behind it, a slim temporary wall, also white, blocked the view to the rest of the larger space beyond. This created the corridor-like setup that Rodrigo Hernández, who divides his time between Lisbon and his native Mexico City, designed for his recent exhibition “Dampcloot.” The show included nine playful, intensely colorful papier-mâché sculptures, all likewise titled Dampcloot and numbered 1 to 9 (all works 2020). Placed close together on that plinth in the center of the room, they seemed to explode