“Accumulations” is commandeered by inbox, a brave and beautiful tour through the artist’s e-mail correspondence. The work is a poetic paper trail: 45 “printouts,” hand-painted in oil on blocks of wood, that skewer the formality of digital correspondence via an unapologetically handwritten approximation of the typeface that exists when these works are on-screen. Jacir’s inbox, or what we see of it, creates a narrative that employs e-mail’s epistolary urgency to tell the tales of almost eight years’ time, a narrative both political and personal. Although we’re treated to such details as often wryly appropriate advertisements tacked on by Internet providers, we only see the inbox, never the out. Still we know what prompted these responses: We see the “re:” in many of the subject lines, just as we see the re: in all of Jacir’s work. In the two-channel video Ramallah/New York (she lives and works in both cities) we sit opposite men typing in travel agencies, clerks shuffling in delis, counter boys cleaning in shawarma shops, and other pairs juxtaposed in a documentary that navigates the tension of strikingly similar interior spaces within each city, as well as the distance between the two.