Sarah Sze’s solo show here featured a single massive installation, Images in Debris, 2018. At the heart of the work was an L-shaped desk, placed in a darkened room. With the aid of a thin metal armature, cables, and clamps, Sze had laboriously built up this bureau with a crowded, condensed covering of artistic and domestic materials, from painting and office supplies to disposable water bottles. This sprawl was combined with modestly scaled light effects and video projections that allowed the piece’s studio-like setting to cast a wide symbolic net, which encompassed the pandemic, the politics

Aaron Jones’s solo exhibition “Closed Fist, Open Palm” was a study in opposing forces, of embodied tension and explosive physical presence. Extending his investigation into how Black subjectivity is constructed—and how it might be undone—in this image-flooded era, the artist presented collages that posed pressing questions about how the effects of capitalism and colonialism on Black people can be charted.

Intimate in scale, Jones’s collages are culled from print publications one might expect to find in a middle-class North American living room. The artist tears apart and fragments sports periodicals,