The mirror in the field captures an unreality of what is called the economy. What is this thing? It comes from the world, is a part of the world, yet in the end is merely a reflection. Specifically, it is a reflection of values, valuations of people and things, people as things. Not everything is visible in this mirror. It shows only what is placed before it. That is, what enters into its purview. What can be seen is whom is considered trustworthy, valuable, dependable. Follow the money. Look to see who is getting paid, when, how often, and under what circumstances. Whose money is burned, washed, wasted. Whose money moves, and whose is left to sit and rot. “Follow the money.” An axiom so true, so easily ignored, its weight intangible until it comes down on your head. Compiling these crashes, ruptures, and flames, Justin Serulneck examines those left over, looked over, and cast aside by real estate development. Working with ashes, occupied land, and vacant housing, Serulneck weaves the environmental and interpersonal connections of economics to question what kinds of spaces should be occupied and which should be abandoned. What often comes through this vision of development is not improvement but unfolding, a dissolution of affordable housing and stable land to place it on. For Patrisse Cullors, mass incarceration and its daily impact acts as a tool to plumb the depths of economic histories. Historical extension of the economic disenfranchisement of Black people in America flows out from the institution of slavery. Deploying tenderness, touch, endurance, and nourishment as response, her performances embrace metamorphosis and restoration. This outlook reflects activist praxis, community engagement and unification. Like bathing itself, there is no perpetual cleanliness. There is washing to be done every single day, no single pill to take, but regular, everyday work. Alexandre Dorriz sees the economic through the biographic, and the biographic through the economic. His family history of migration from Iran to America is mapped along a parallel of embargos and agriculture. Art collectors and philanthropists in Southern California are as much material as pistachios and pomegranates. Winners and losers, economies of small, silk worms humming along making money for someone else. Oh not to think about money! The glow of billionaires, misty skin clear eyes soft tan, their soft hands, the laugh more carefree than children as the adults now know what they have lost, what they have returned to, what immunity has been granted beyond vaccines and beyond the law.