In the middle of a small room at Lesley Heller Gallery is a slightly disconcerting object. Disconcerting because its form and features are those of a thing we should recognize, a familiar thing, not a recondite conceptual artwork: gabled roof, symmetrical windows, an unassuming exterior painted gradients of yellow and green, like the façade of an abandoned house creeping with the first faint spores of moss.

That the elements of Elaine Cameron-Weir’s works are at once ruggedly utilitarian and impossibly arcane is one of her brilliant conceits.

The sculptures in Simone Fattal’s exhibition Works and Days at MoMA PS1 appear freshly dusted off from an archaeological dig, artifacts or parts thereof wrested from history. The retrospective, curated by Ruba Katrib, is the artist’s first in the United States and presents more than 200 works including paintings, works on paper, and sculptures from the last five decades of Fattal’s production.