None of the sculptures in “….)(” make contact with the floor; the entire exhibition seems to levitate. Throughout this sly presentation of recent work by Cerith Wyn Evans—the artist’s first significant institutional show in his home country of Wales—our gaze is directed upward, his signature in hanging neon forming an unlikely kinship with Mostyn’s airy chambers. Easy on the eye and knowingly impenetrable, the show provokes awe and disorientation in equal measure.

A primary claim of much contemporary sculpture is to untangle—to dissect, to lay bare. Evans embraces the tangle itself. Across a