According to the exhibition’s introductory text, “Quiet,” curated by SALTS director and Art Basel Parcours curator Samuel Leuenberger, is inspired by Susan Cain’s 2012 book of the same title, which champions introverts in a world skewed in favor of the ebullient extrovert. It is an odd premise for an exhibition, given that artworks are generally left to speak for themselves and their mediation is delegated from the artist to the curator or the gallerist. Yet now that connections and networks are so strategically fostered, have we lost faith in art’s own inherent power? If the art world is utterly deaf to the potential of a silent or slight gesture, we are doomed. What this show achieves, however, is an exploration of different kinds of quietness and distance between artist, media, and artwork. At its center, a city lies in a crescent at our feet. It is a ruined city, abandoned, the bones of buildings, highways, and civil engineering bared, dirt and sand gathering around it. Houses are missing roofs and sides, though a few bare lightbulbs still burn brightly. Youssef Limoud’s Geometry of the Passing (2017) is made from found detritus, brownish torn waste materials and lost objects such as …