The most intriguing of these four artists is the eldest. Yuki Kimura, an artist based between Kyoto and Berlin, removed three custom-built wardrobes from her childhood bedroom; she has reinstalled them in various configurations in shows worldwide, and integrated them here into the architecture of Artists Space’s new home. One of these empty armoires stands flush against a white gallery wall, while an extended piece of drywall fuses the minimalist furniture into the cast-iron building. Tender and memory-haunted, Ms. Kimura’s intervention makes the gallery into a domestic space. She also offers a simple display of 21 stainless-steel circular vessels, modestly positioned on the floor and suggesting an act of hospitality.

Duane Linklater, from Moose Cree First Nation in northern Ontario, contributes a pair of large sculptures that redeploy indigenous materials into wordless, melancholy formations. A gravity-defying cone of 12 tepee poles has been screwed into the wall, its cover drooping to the floor; other poles stretch up from the basement, wrapped in mink and rabbit fur coats that recall tourniquets. Mr. Linklater’s mixing of hard and soft surfaces finds an interesting (if less precise) counterpoint in the assemblage sculptures of the New York artist Danica Barboza, this show’s most junior figure. She bundles old computers, televisions, shower curtains and sex dolls into disjunctive units that recall the mashed-up sculptures of Isa Genzken.

The young artist Jason Hirata, from Seattle and New York, has strewn a room with digital projectors displaying only a default start-up screen, while throughout the galleries are found drink bottles filled, sorry to say, with human urine. These slacker gestures, aggrandized with an eye-rolling statement from the artist that the “artworks are finished when they have been returned,” undercut the ambition of the other three participants.

Still, Artists Space is a place with room for missteps, where connections can be uncertain and young practitioners don’t need to obtain preapproval of dealers or grantmakers. In a high-pressure art world, where judgments are ever faster and prices ever higher, that may be its most valuable function.