Magali Reus’ sculptures are conceptually off-kilter, devoid of narrative, disconnected from time and space, and drained of any trace of functionality. They are, however, materially complex and exceptionally well executed. Two new series, currently on view at Eva Presenhuber, supply a host of loose mental ends and a tangle of laborious inferences. “Settings” pre-supposes a European, car-owning audience. Here, the starting point is the Continental No Parking sign which is typically a red diagonal bar inside a blue circle framed by a red ring. Reus sets up these sculptures mirror-like and stages several material interventions that variously insert windshield wipers, remote controls, or mousetraps in recessed cavities akin to Catholic reliquaries. The result is vaguely authoritarian but deliciously subversive. The series “Empty Every Night” comes in two parts and reminds of the mirror and shelf combinations in entry halls and bathrooms. Here, the “mirror” is variously a fiberglass square or rectangle, or a tubular or square diorama box and plays host to coiled steel rods that spell out one particular digital time. The entangled mess reminds of Brahmic or Urdu calligraphy or perhaps the innards of an old television set. Any mental overflow is caught by the metal trays below which, instead of keys, hold impeccably fabricated monochrome objects like a nose, a lemon, or a shelled walnut. Collectively these sculptures present not so much a concept as overlapping binaries related to our state of being – individually they make no demands. They just are. At Eva Presenhuber through June 23.