Mark Leckey’s exhibition at Sant’Andrea de Scaphis, the Roman location of Gavin Brown’s enterprise, is the latest iteration of a series running back to the 2013 Hayward Touring show “The Universal Addressability of Dumb Things.” The original display took inspiration from digital images collected on Leckey’s hard drive, physical instantiations of which were assembled into an eccentric taxonomy. At Kunsthalle Basel, Leckey presented an “ersatz” version of the concept titled “UniAddDumThs” (2015), featuring replicas of the original objects. Considering these previous presentations, in what way does this new project add to the previous ones from which it takes its cue? And to what extent does it need everything that precedes it in order to be understood? Can we individuate a fissure, a difference that makes it unique and independent from its predecessors? To address these questions, let’s imagine we don’t know anything of Leckey’s previous shows. We walk through the main door of this deconsecrated church to find an orderly arrangement of things. We might ask ourselves, “Is there an order that defines this set of objects? Why are they all together in one room? Why these and not others?” A number of 3D printed objects, two-dimensional prints, and videos are …