The inauguration of the European Parliament building in Brussels was marred by a defect of architectural planning: visitors approaching it were blown over by currents of air inexpertly funneled around the construction. One imagines stacks of European bureaucracy sent into elegant airborne swirls by the gusts of wind. The front of the building was fitted in 2008 with a “comfort ring” that alleviated the wind nuisance, a solution designed and tested at the Von Karman Institute for Fluid Dynamics, a NATO research facility near Brussels. This was one of the many narrative threads woven by artist Haseeb Ahmed into a performance presented earlier this year at the institute. Ahmed’s exhibition at Harlan Levey Projects realigns the documents, artifacts, and intuitions of that event, with the film The Wind Egg (2016) the most explicit link between these chapters in his research. Footage of the performance is edited into the fictional survey of a regular day’s work at the institute. The audience that followed the performative procession through wind tunnels, the auscultation of their inhuman breath, is now out of sight, and the scientists attend to arcane contraptions, moving between what seem to be an aviary and heavily equipped chambers of impregnation, mythopoeic …