In 1972 Idi Amin expelled eighty thousand South Asians from Uganda; among those who would eventually become refugees was eleven-year-old Zarina Bhimji. In her exhibition “Black Pocket,” that history unravels like the notes of an aromatic fougère, with sweetness morphing into damp mossy decay, faintly musty with spice. The survey spans thirty years and is a study in restraint: three films, three installations, three stand-alone photographs, and Untitled (A sketch), 1999, featuring three dresses, girlishly short, with Peter Pan collars, sewn out of maps of the subcontinent, East Africa, and Western