Rebecca Ackroyd’s show “100mph” seemed still in a process of becoming. The gallery was filled with modular walls and temporary scaffolds wrapped in dust sheets. From the outside, the space looked closed for refurbishment; inside, the plastic rustled as you walked past, swelling with air and then receding. The twenty-seven drawings and sculptures that comprised this show were hung over the plastic and depicted metal air vents, grilles, and drains. There were also fishnet stockings as well as tights so ludicrously full of runs that they, too, were apertures as much as membranes. For Ackroyd,

The photographic practices of John Coplans and Michael Schmidt have never been juxtaposed in an exhibition before, but the two artists admired each other’s work, and it’s not hard to see why. In the commingled monochrome images in “The Lingering Drama of the Body,” extracted from much larger cycles of work, both artists explore how the human body is imprinted by time. For the British-born Coplans—a founding editor of this magazine as well as an artist, writer, and curator—that meant the aging process. For Schmidt, a long-term chronicler of cultural change in Germany (and in Berlin in particular),