One work in particular captured the essence of Hera Büyüktaşçıyan’s solo exhibition “Write Injuries on Sand and Kindness in Marble.” The Relic, 2016, is a bronze cast of two hands extending to mid-forearm and resting on wooden blocks, in front of which other blocks hold arrangements of gray mosaic chunks. The hands are turned palms up to reveal the imprints of mosaic tiles on their surfacesan homage, Büyüktaşçıyan notes in the accompanying publication, to the workers who, legend has it, lost their fingerprints (or fingers) during the Taj Mahal’s construction, when sanding and smoothing fitted stonework was undertaken by hand with wet grass for months. (Today, the process would be executed with a water saw.) Those fingerprints, “lost in the liquid surface of the building,” are the “embodiment of a solid history of production and waves of people.” This is the essence of
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