Apartheid. War. Colonialism. These are core subjects for William Kentridge, the multifaceted South African artist. Kentridge is known for the political films he makes out of drawings in charcoal (he photographs a drawing, partially erases and redraws it, again photographs it, and eventually these successive images add up to a movie). He also creates fascinating sculptures and triptychs, using recurring symbols that are the basis of a Kentridgean lexicon. “Je N’attends Plus” is presented in tandem with the artist’s new opera, The Great Yes, The Great No, which rewrites the story of a voyage taken in 1941—from Marseilles to Martinique—by a group of artists and thinkers looking to escape the devastation of war. Among them were Wifredo Lam and André Breton. —Elena Clavarino