This show was done in response to building right-wing political pressure. Through sculpture, painting, and large scale installation, the artists explore the fragile space between hope and futility, using cold war panic as a lens to view modern day problems too. Showing how our paranoia never went away, it simply morphed.

The title of the exhibition is drawn from a 15th-century proverb, once used dismissively to suggest that certain hopes are attainable only through the most improbable of circumstances—dreams entrenched in impossibility. Here, the “lark” of the original proverb is replaced by the wren, a bird common to South Florida, symbolizing renewal and the coming of new life.

I was responsible for a sculpture in the front, the construction of the installation, and all the furniture built within it including a desk, a chair, and a chess set displaying the final set up when Kasparov resigned to the chess computer Deep Blue.