“I didn’t tell you what impulse drove me except I was a biographer. Was I surprised I could understand their language? Yes.” With these words, Trisha Baga speaks to her audience from the future. Orlando, which takes its name from both the Virginia Woolf novel about the eponymous, gender-swapping immortal, and the Floridian city, is an exhibition out of time, taking place in an imagined future after a great flood consumes Florida whole.

It is not fully evident upon entering Rachel Uffner Gallery which of the bright, playful artworks are telling “old truths” and which “new lies,” or what those truths and lies might be. The works by nine artists run the gamut from textile, silkscreen, digital printing, and collage to mixed-media sculpture and painting, photography, and found objects, but nothing’s quite in its place.

It is tempting to talk about Beverly Buchanan’s diminutive sculptures of houses and shacks as though they were built by a Lilliputian population, who live their little lives inside of them.

In the exhibition A Group Show at Jack Shainman Gallery, Michael Snow shows and tells us, repeatedly, how and with what his art is made. Now this might make you think about formalism and the dramatics of the Greenbergian yesteryear, the artist drawing attention to the ontological identity of his medium(s), renouncing pictorial depth, etc.