The wide eyes and open mouth of a child are a reminder that, even at art fairs, there is still space for the occasional moment of wonder. The girl has good taste: she’s enthralled by Endless (2012), a sculpture by Claire Morgan at the FIAC booth of Galerie Karsten Greve. A three-dimensional grid of dead flies has been suspended in mid-air on vertical lines of nylon weighted with little pieces of lead. Around them, similarly hung dandelion heads form a slim, delicate frame. It is a gossamer-light and enchanting piece, whose dark eco-political agenda has been lent new urgency by recent research into insect decline. Animals seem, nonetheless, to be scampering throughout Paris this week. Also at FIAC, London’s Sadie Coles’ booth lures visitors in with Rudolf Stingel’s Untitled (2015), a black-and-white painting of a photograph of a squirrel. At the Musée de la Chasse et de la Nature, Sophie Calle interweaves the personal, the political, and the philosophical through a series of interventions, including covering the museum’s famous stuffed bear in a white shroud. Especially intriguing is a series of photographs (“Liberté Surveillée,” 2014) of deer, pheasants, and hares taken at night by automated cameras sited on the bridges and …