If Joseph Kosuth’s latest exhibition works, it works as installation; if not, then a labyrinth into which I can venture is at best a retrospective of a historically intriguing, though no-longer-relevant artist.

The subject of John Brill’s current exhibition—photographs he took as a child—might seem like an exercise in nostalgia. That it isn’t is as much a credit to his eight-year-old-self’s sense of composition as it is to Brill’s virtuoso printing technique.