The country’s crippled economy also forced her to become resourceful by incorporating materials that were locally sourced and readily available into her works. May Bukas Pa, Inay (There is Still Tomorrow, Mother), 1982—from which the current survey of Cajipe Endaya’s work at Silverlens in New York, curated by Eugenie Tsai, takes its title—exemplifies her paintings of this period. The ground of the painting is a collage of canvas and sawali, a bamboo-matted panel traditionally used as partitions and window coverings in rural parts of the Philippines.

“One of the subjects Havini focuses on is a different system of monetary value [used by her ancestors in what is today Bougainville in the south-west Pacific Ocean]. She’s on a residency here at Basel’s ethnographical museum and the piece was produced with Basel’s art school; it’s a work that shows how Unlimited can reach outside.”

Filipino-Dutch artist Martha Atienza explores compressor diving – one of the world’s most dangerous fishing methods – on Bantayan Island. Her haunting, slow-motion footage captures two generations – a young apprentice and an experienced fisherman ­– descending 150 feet underwater, breathing through surface hoses.

Manila gallery Silverlens presents Taloi Havini and Patricia Perez Eustaquio, whose works trace colonial legacies and cultural resistance. Both artists collapse hierarchies between craft and fine art, using labor-intensive processes to rewrite dominant histories.