Enriquez’s exhibition opens a pair of Silverlens off-site projects in California, to be followed by a presentation in Los Angeles. Together, the shows honor California’s long-standing role as a connector, a gateway of exchange between the U.S. and the Asia Pacific, and an active locus of artistic collaboration.

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.

Endaya describes this work as a kind of self-portrait, even if none of the figures resemble her. She has perhaps always seen herself in each of these women, which speaks to the empathy that radiates in her work. In Kahapon Muli Bukas, she asks us to do the same: every worn object, unsettling gaze, and victorious posture moves us to close the distance between ourselves and the neglected Filipino women of yesterday, today, and tomorrow.

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.