Joyce Scott’s “Inkisi #2” is one of her sculptural works that sneakily knocks you out. It’s a wooden figurine from Nigeria that Scott clad in a billowing tiered skirt made of cast glass, beads of clay, plastic, thread and wire. Scott sewed some of the beads together to become faces on large medallions that hang among the skirt’s folds. Strings of beads end in some relic—a hand, an animal shape—that suggest some aspect of a spiritual practice.

Interspersed among the folds are columns of coke-bottle green glass that end in a bell-shaped bulge. Stare into the face of the figurine and you start thinking its features suggest a knowing smile. Phalluses, icons, prayer, wit, “Inkisi #2” hits the eyes like a totemic relic even though it vibrates with a contemporary tension. Past and present converge in an object that feels like it has something to say to you about the here and now.

Slyly funny, sexually frank, historically complex, politically astute and above all, visually striking, “Inkisi #1” greets visitors to the intimate gallery space at the Baltimore Museum of Art where a small assortment of Scott’s works are paired with those of her mother, Elizabeth Talford Scott. Titled “Hitching Their Dreams to Untamed Stars,” the exhibition spotlights the artistic potency of a creative family.

Members of the Baltimore Symphony Orchestra showed up at the Meyerhoff Symphony Hall Monday morning with their parking passes disabled, unable to access the building without scheduling an appointment with management.