In the age of belated terrestrial awareness and multiple other opportunities and threats foisting themselves upon us daily, the joint solo exhibition by Yane Calovski and Hristina Ivanoska at the Museum of Contemporary Art Skopje may not appear immediately “urgent” (a much-overused term in contemporary art) or “topical” (another term serving as a hurdle for artists). Yet, “Epilogue (A Form of an Argument),” by the duo who represented Macedonia at the 56th Venice Biennale in 2015, is no exercise in art-specific introspection. Straddling the visual, the architectural, and the political, it becomes an extension of the museum’s concrete walls and the historical moment they embody: the organized acts of international solidarity to rebuild Skopje after the earthquake that destroyed around 80 percent of the city on July 26, 1963. Japanese starchitect Kenzo Tange contributed a new “metabolic” city plan that was only very partially realized (Calovski exhibited the surviving parts of Tange’s exquisite wooden model as part of his installation for Manifesta 7, 2008). Poland contributed the funds and architectural know-how to build a museum of contemporary art. Calovski and Ivanoska thematized one of the architectural proposals for such a museum in their print-based work Oskar Hansen’s Museum of Modern Art …