“I would prefer not to.” Spelled out in a bright, warm yellow on the gallery’s front windows, this text work by Alterazioni Video (which borrows a refrain from Herman Melville’s Bartleby the Scrivener) is a distillation of the collective’s contrarian sensibility.

Following a DAAD residency in Berlin, Zmijewski presented a new series of films there that fell somewhere between those extremes. The roughly 10-minute clips were shot by the artist at public demonstrations around the world.

Otolith (2003), the first film by the London-based Otolith Group (comprising Anjalika Sagar and Kodwo Eshun, both born in London), starts in 2103.

American artist Sean Snyder’s exquisitely edited sequences of found film footage are similarly poised between informing us of past events and forcing us, moment to moment, to question our own automatic reactions.

Eileen Neff’s latest exhibition of new photography, “Things counter, original, spare,” featured eight C-prints, ranging from 30 to 80 inches on a side, and a ninth work that is discreet but unmiss-able: a one-inch-wide laminated Mimaki print running from top to bottom of a wall.