I hope the angel and the monkey get confused, like two drops of dew that roll and meet on a rose petal.

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It’s striking how colors and shapes seduce us. For ages, objects with their alluring and delirious surfaces have moved bodies—from the countryside to the city and, within the city, through its labyrinths and passages. With colonial modernity, the world became filled with a variety of objects from across the globe, along with the many techniques used to make them. Visual and material diversity grew beyond measure.

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The exhibition begins with the artist’s most recent work: a 3D-printed plastic tangerine, carefully stored in a shoebox. Scissors can be heard, an obsession-souvenir from her residency at the Newberry Library in Chicago, where she spent days printing and cutting out maps. The noise coming from the back of the gallery prompts me to search for the hallway. Through the window, I see a closet reminiscent of a teenage bedroom, complete with a pink light and an exercise machine. The doors and walls are plastered with enlarged images of the artistic references Michelle identifies as formative: Faith Wilding, Mónica Mayer, Lorena Wolffer, Pola Weiss, Galia Eibenschutz, and Rey Ángeles. In other words, the closest thing to her current work—which, rather than a finished piece, is the direction she envisions for the next years of her practice—is rooted in her oldest influences, her foundational myth.

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Place Where the Flower Breaks

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