In her first New York solo show since 1991, Magdalene Odundo − born in Kenya, raised in India and long resident in England − had the appropriate good fortune of being presented in the second round of exhibitions in Salon 94’s new building, the rehabilitated former home of the National Academy of Design Museum, a five-story, 17,500-square-foot Beaux Arts style building erected in 1913-15. In the third-floor gallery, a high-ceilinged, white-painted salon washed with light from tall south-facing windows, each of Odundo’s taut, vertical vessels, poised lightly on a small foot, evoked an arrow plunged into the pedestal, an emphatic dark shaft in the room’s blazing whiteness.