The concepts of home and shelter diverge in Carmen Winant’s Double Jeopardy. At the center of Bennington College’s Usdan Gallery stands a purpose-built wooden house, or its frame—raw timber, open roof, visible struts.

Like the exhibition’s name, Preaesns, most of the painting titles in Jéronimo Rüedi’s show at Bureau are made up of nonce language.

Linnéa Gad’s practice is defined by perpetual return. Her latest solo exhibition, Return of the Mollusk, emerges from her longstanding fascination with lime—as an artistic medium in frescoes and cave paintings, as a foundational element of lime mortar (the earliest known man-made substance), and, most importantly for Gad, as the material mollusks use to create their shells layer by layer.