On first acquaintance, Maria Fernanda Cardoso’s simple arrangements of materials gathered in her native Colombia present themselves as exoticized appropriations of formal inventions and ideas from earlier decades. Cardoso’s rectilinear piles and stacks of hand-formed soaps, raw sugar, and guava-paste candy, for instance, instantly suggest arte povera–like materials framed in Minimal/Conceptual forms: a tropical party-mix composed of equal parts Carl Andre and Richard Serra, Joseph Beuys and Eva Hesse, so to speak. These pieces, however, are a lot more than just clever gene-splicing. Instead,