Unassuming objects—such as grocery cartons, essential supplies, orange peels, shopping carriers, polythene bags, suitcases, a towel, and a lighter—occupy a large hall of Kunsthalle Bern. Elsewhere in the space, a discarded scratch card lies on the floor beside stacked chairs and potted foliage on wheels. Assembled by artist duo Valentina Ornaghi and Claudio Prestinari, these tableaux stage a material sensorium of the ubiquitous. Fragments of Campo del Cielo meteorite are dispersed across the walls in various permutations as well: a cosmic extension of the morsels that constitute the ordinary. In “Heavy Rotation Infra-habibi-technics,” makeshift infrastructures such as these evoke motion and traffic as well as incidents and happenings that are furtive, off-ledger, or premised on informal networks. These unmoored objects—available to touch and vulnerable to pilfering—are presented in ways that resist easy attribution to the contributing artists, attesting to a different logic of exhibition-making. This reluctance to discretize the works further manifests in the illustration of weather patterns that substitutes for a labelled floor plan, indicating a merging of indistinct “atmospheres.” The orange peels, for instance, refer to a film shown in an enclosed space on the floor below. In Cow Heaven Brawl Cloud (2023), the artist Laura Nitsch films …