In Octavia Butler’s classic sci-fi trilogy Xenogenesis (1987–89), the ooloi are a third-gender alien species of the Oankali. Notorious shape-shifters, they are the bioengineers of their kind and are able to gather genetic material from others and build that of their offspring, therefore embodying the complexity of queer kinship theories and the socio-political potential of a third subjective space. “OOLOI,” Paul Maheke’s exhibition at La Friche de la Belle de Mai, the former tobacco factory where Triangle France is located, borrows its title from Butler’s Oankali aliens. In the space, Maheke suspended layer upon layer of diaphanous red fabric in large square panels from the ceiling of the massive open room. The fabrics undulate slightly in the wind created by fans placed on the floor along the length of the exhibition hall. Large theater spotlights click on and off abruptly, or glow slowly into force and then fade. Brass and copper spheres roughly the size of soccer balls are scattered on the floor throughout the space. Though daylight and the shadow of fabric moving are faintly reflected on the sculptures’ semi-polished surfaces, these orbs remain static, acting as anchors for everything “OOLOI” comprises but does not materialize: the unseen characters, the …