A painting needs a body if it is to move freely in space. And if the surface of the painting were the skin of that body, the paint would serve as clothes. Set the body in motion and the painting becomes unfixed, its textures and colors forming fleeting compositions. Painted clothes are stripped of their usual function—they smear or crack, dry up and flake off, and in this way they tell stories about the body they occupy. Such fluid interplays of painting, clothing, and memory abound in POLYSTYRENE’S BRACES, 2016, the surreal installation by Bolivian American artist Donna Huanca, recently