In a Matryoshka doll-like stacking of instances, New York artist Carissa Rodriguez based her short film, “The Maid,” on sculptures created by Sherrie Levine in the 1990s, which in turn were inspired by Constantin Brancusi, whose work was based on his notions of birth. Levine’s responses, which were cast in crystal and black glass, can be found in collections public and private around the world. Rodriguez sought them out, then unpacked and interrogated this lineage in her film, while also bringing Levine’s “children” back together. The title? It comes from a Robert Walser short story about a maid searching for a lost child.