Despite the fact that Louise Bourgeois has been making art for more than seven decades, her drawings, sculptures, and installations are completely contemporary. At the age of ninety-four, she is, according to the exhibition curator Frances Morris, “the oldest of young artists” (10). Organized by Morris, senior curator at the Tate Modern in London, with Brenda McParland, head of exhibitions at the Irish Museum of Modern Art, Louise Bourgeois: Stitches in Time is an intimate and engaging exhibition of her recent fabric sculptures, drawings, and a handful of older engravings. After a European tour, the exhibition closes at the Museum of Contemporary Art in North Miami, its only U.S. venue. Morris, who wrote the essay for the show’s catalogue, is one of the foremost authorities on Bourgeois’s work and is currently organizing a major retrospective on the artist at the Tate Modern. One may recall that museum’s opening in 2000, which featured an extraordinary commission from the artist: three large black towers, ambiguously entitled I Do, I Undo, and I Redo. These architectural structures exemplify themes that resonate throughout her oeuvre—mainly the cyclic narrative of creation, destruction, and re-creation, and the corresponding emotional states that such a fluctuation inspires. These...