Accelerated capitalism stirs crises within and between bodies amid the paradoxical textures of time. The jagged and atonal moment we are living through unleashes mutant beings—both microscopic and colossal—that quickly replace dated concepts of beauty, race, and western constructs of “nature.” Works by Gözde Ilkin and Rajni Perera conceive synergies between humans, animals, and plants. As the contours of public suffering and sickness drastically shift, works by Tishan Hsu interpret these affective surfaces and conflate robotic parts, human orifices, and clinical aesthetics. Visual poems by Pedro Neves Marques grapple with the domineering militarization of language by questioning political and biotechnological regimes that confine and regulate non-binary life forms. Abstract works by Kwak Duck-Jun from the 1960s envision dimensions of trauma and illness as other-worldly cartographies. Alexandra Sukhareva’s chlorine-painted canvases mix abstractions of contamination with powers of empathy and attunement. While weaving multilingual dialogues among ghostly presences, post-industrial lands, and ancestral figures, Shen Xin’s five-channel film installation plots the embodied tensions between an assumed point of origin, censorship of thought, belonging, and the unfinished circuit of statelessness. Ad Minoliti’s Feminist School of Painting(2018-) and Angelo Plessas’s extension of the Noospheric Society(2016-) offer spaces of (un)learning, improvisation, and collaborative techniques. Sylbee Kim convenes a choir of elements that hum of indebtedness, the geology of memory, and diasporic subjecthood. Tcheu Siong’s Me nyuam dab nriag(2018) uses fabric appliqué to invoke spirits that govern communal life in Hmong diaspora communities and hold the key to unseen worlds. Paper lanterns cascade and crows survey from above in Timoteus Anggawan Kusno’s installation grappling with the power dynamics of oppressor and prey as well as the long shadows of colonization. MOON & JEON project the interplay of imperfection and the eternal desire for perfection through the lustrous surface of a moon jar and the story of soul becoming monstrous. Cecilia Bengolea’s pulsating three-channel video installation converges live-networked algorithms to shuttle between scenes from Jamaican dancehall to movements that synchronize liquidity within the body and the biosphere. Ouattara Watts’s large canvases transmit frequencies of jazz, Afrobeat, reggae rhythms and the mythopoesis of Pan-Africanism. What future body awaits us? How might collective ways of being and being held together and apart affect our understanding of where the body begins and ends?