The exhibition spans this arc — from her experimental prints and her work with the New York Graphic Workshop (co-founded with Luis Camnitzer and José Guillermo Castillo), to her most recent large-scale installations in which humor and play draws us back to a kind of animism rooted in childhood. Throughout the show, we encounter miniature figurines engaged in absurdly monumental tasks from her series Forced Labor: a tiny weaver working on an oversized cloth; a miniature painter trying to cover an impossibly vast wall; a solitary gardener tending to a chaotic flower garden made of broken dishes and teacups. These fragile, tender, and tragic scenes operate as contemporary parables — meditations on the excess of labor, the vulnerability of existence in the face of an unmanageable world. Almost There, the piece that lends its title to the exhibition, condenses many of these tensions. A diverse cast of characters — plastic workers, religious icons, supermarket objects — all look toward the same point, as if waiting for something. It is a scene of collective hope, of shared direction, but also of uncertainty and vulnerability. In the artist’s work, scale becomes a language in itself, while the spotlight shifts from the human to the object, from the visible to the implied, from the formal to the political. Humor becomes a method, absurdity a form of critique, and play a tool for reflection.