Shirley Tse’s exhibition “Stakes and Holders” was reminiscent of an animal—one that has adapted and changed shape as it traveled from the plain-brick building near the Arsenale entrance, where it occupied the Hong Kong pavilion for the Fifty-Eighth Venice Biennale in 2019, to the sleek postmodern showroom of Hong Kong’s M+ Pavilion. This magnificent creature, its sprawling arms and tentacles extending onto the ceiling and the floor, greeted visitors with a voice intercepted from local amateur-radio broadcasts, filaments sprouting from her 3D-printed joints and watchful lenticels from her wooden