For her U.S. debut, Carina Santos presents her so-called “pour paintings,” evocative abstract paintings that employ material, gesture and chance to conjure up memories of terrains and skies. Her process begins with mixing color, pouring pigment on a canvas laid flat on the floor, allowing it to sit and lead her to where the painting should go. “It’s not really an accident because it is deliberate," Santos says. “But when the colors interact, it does create something new and surprising. I do lead it, but it ends up where it wants to be.”

An avid collector of historical objects, plant specimens, and other curiosities, Halili’s affinity with the natural world mirrors that of an Enlightenment-era gentleman: energized by discovery, guided by experimentation, and driven by the desire to understand the world. In this light, his reference to José Rizal’s The Triumph of Science over Death and his use of the Statue of Liberty as material find their resonance. Like a time traveler moving across eras, Halili sifts through the remnants of the old world and carries back his discoveries, allowing what matters a way back into the present.

Kahapon Muli Bukas situates Filipina DH alongside Endaya’s more recent mixed media works, which tackle issues ranging from the struggle against religious oppression to the catastrophic effects of climate change in the Philippines. Here, women across the country’s vast history take center stage: a precolonial priestess, a transwoman, a grandmother. Endaya refuses their erasure from grand narratives. Kahapon Muli Bukas brings them into conversation with the migrant domestic workers who make up Filipina DH, insisting that they, too, belong at the center of our national imagination.

Lim’s practice lives within the tension between opposing forces and elements: additive versus subtractive, positive versus negative, embedding versus extracting, painting versus sculpture, near versus far, body over landscape. With each new body of work, she labors to complicate and further nurture this tension, without favoring one side over the other. What emerges is a kind of hybrid, self-reflexive approach, anchored in process.