Each of us is “an archaeological site,” Lucy Sante argued in her 1998 memoir, The Factory of Facts. “What passes for roots is actually a matter of sediment, of accretion, of chance and juxtaposition.” This notion of the self as strata came to mind while visiting Tanoa Sasraku’s exhibition “Liths,” wherein the British-Ghanaian artist uses geological imagery to examine her personal ties to the United Kingdom’s landscape.

Five monumental freestanding cases display what at first glance appear to be stone blocks (all works Lith, 2022). Two are arranged as a trench to walk through; the others tower