MUSEUMS IN GLASGOW, as in other cities, are often battlegrounds for ideological conflict, as well as barometers of economic and political pressure.

IN SEVERAL LARGE WORKS, a black-and-white image of a woman’s face appears printed on clear plastic wrapped around wood stretchers. Keyboard symbols—! % @ & *—are superimposed on her features as she poses: looking skyward as if praying; gazing at the camera hypnotically; cool and unsmiling like a French New Wave actress.

Born in Gdynia, Poland, in 1972, Malinowska came to the U.S. in 1994. Attending Rutgers University, she majored in art but was also keenly interested in cultural anthropology, which has proved to be important to her subsequent work. After graduating from Rutgers in 1998, she went on to receive her MFA from Yale in 2001. Over the past dozen years, throughout a diverse practice that crosses mediums—from video to monumental sculpture and installation—she has maintained a consistent interest in cultures that are not her own, and in something that we might say is beyond any boundary.

TO RUN INTO KEKOO GANDHY, whether at his old Gallery Chemould—on the first floor of the Jehangir Art Gallery, Bombay—or more recently, at its succes- sor, Chemould Prescott Road, directed by his daughter Shireen, was to be drawn instantly into his latest scheme for sweeping reform in India’s art institutions.

In his first museum survey, Wade Guyton upends categorical conventions of painting, print, sculpture and installation.