Alma Allen ‘s much-anticipated exhibition for the U.S. Pavilion at this year’s Venice Biennale has finally opened its doors. The Utah-born sculptor’s offering is markedly pared-down compared to the bombastic interventions of his recent predecessors, though it has its own charm and whimsy. Still, looming questions about the show’s mysterious organizers remain unanswered. The exhibition, “Call Me the Breeze,” hurriedly produced over just a few months, is a riposte to the oft-repeated claims that Allen’s work is purely formal or that it has nothing to say about our current moment. Throughout the central courtyard and the pavilion’s five galleries, the artist has grouped new work with old to weave a narrative about conflict, mourning, and transcendence that is inspired by Hieronymus Bosch ‘s Visions of the Afterlife (c. 1505–15), on view at the nearby Galleria dell’Accademia .…