To stand in front of Mo Costello’s dark, textured photographs in the Biennial is to see James Welling’s profound pictures about darkness and texture from 1980 and 1981. And to take in Aziz Hazara’s piece “Moon Sightings” (2024) is to see Wolfgang Tillmans’s experiments in color and abstraction. To be in the room with Isabelle Frances McGuire’s “Symbolic Birth Cabin Unit” (2024) is to once again feel the power of Nayland Blake’s “Feeder 2” (1998). And, as much as you may appreciate Jasmin Sian’s beautiful lacelike cutouts and drawings, they make it impossible to get Elaine Reichek’s samplers, from the nineteen-nineties, out of your head. Nour Mobarak’s audio and resin-and-pigment works, which contribute to her dreamlike atmospheres, draw so much on Pierre Huyghe’s genius that you can’t make out what exactly is coming from Mobarak herself, except that Huyghe’s brilliance is about gestures rather than definitive statements, while Mobarak privileges the weird over the difficult.