Mounir Fatmi’s invocation of that evocative term “oriental” for his second US solo exhibition is no accident. The Paris-based Moroccan artist frequently draws on charged references—linguistic, political, and historical—to deepen the critical bite of his work. The artworks themselves, however, are usually juxtapositions of found objects that produce conceptual one-liners of a socio-political bent. The six recent works on view here are a remix of his material and thematic experiments of the past decade. At their best, they offer a first-hand encounter with the subtle sensory appeal of his playful appropriations and their skillful recasting of intellectual inquiry as visual pleasure. That said, their blunt symbolism and slick design suggest an opportunist aestheticization of the politics of the Arab Spring: by lining up a striking iconographic web of implied meanings (the artist’s North African origins included), the works hint at profound political critique without actually having to say very much. The “oriental accident” of the show’s title is never quite explained, though it’s also the title of the 2011 work that greets the viewer upon entry. Loud, metallic vibrations call attention to the speakers mounted on the surface of a Persian carpet. The background noise coming from the speakers is …