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All of the works in Material as Message ask us how we come to remember, through materials that suit the memories they’re trying to preserve.

The South African curator Khanyisile Mbongwa has some home truths for the people of Liverpool—but do the points land?

Lydia Ourahmane creates sprawling installations that challenge geopolitical borders.

I HAD HEARD about Lydia Ourahmane long before setting out to write about her curiously affecting art, had heard about her improbable backstory as the child of an Algerian father and a Malaysian Chinese mother who had fallen in love at a school for evangelical Christians in the UK. I’d seen images of her work, too—invitingly minimalist installations perfumed by mystery, chaos, and accident. Our wide-ranging conversations began in the pandemic’s second year, and before long I had grown accustomed to the artist’s elliptical, zigzag patter. The vibe was both history lesson and séance, a s...