In the basement of a former Berlin crematorium, a small brass instrument sputters and hisses. The sculpture—Vartan Avakian’s Composition With A Recurring Sound (2016)—could be the baby cousin to a trumpet or saxophone. It is also the closest this group exhibition about rhythm gets to danceability. No surprise there. SAVVY is a space that emphasizes colloquy, meaning that its exhibitions and programs often seem less concerned with a central subject than that subject’s relation to a lived world. This exhibition concludes a program that extended into Berlin’s HAU theater and in 2016–2017 to Lagos, Düsseldorf, Harare, and Hamburg. It suggests an ad-hoc social nervous system, situating a willing viewer between the uncertainty of thinking and the affirmation of feeling. The exhibition’s conceit is that artists can elucidate the unseen rhythms that structure life, while the rest of us—by implication—are bewitched by so many abstractions and constructs: work, finance, love… Not suffering from humility, this theme becomes modestly obliging in function: a discursive matrix interlinking the work. IQhiya—a collective of South African women artists—has modeled the possibility of questioning power through lines of free-association inquiry that one might liken to beats in social space. Monday (2017) is made from school desks covered …