Lin May Saeed, Bee, 2018, cardboard, transparent paper, strip lights, 102 × 102 3⁄8 × 19 5⁄8".

Lin May Saeed

Studio Voltaire

“Animals are the main victims of history,” writes the historian Yuval Noah Harari. That dismal fact was fleshed out in a one-room survey comprising six wall works, a stack of A3 posters, and four animal sculptures by Berlin-based artist and animal rights activist Lin May Saeed. Often working with storytelling, the crafts materials of school projects (Styrofoam, colored paper, string), and the frontal compositions of children’s museum dioramas or didactic imagery, Saeed conflates the deep time of geological history with that of childhood, both tinged with lost innocence.

Near the entrance was Cambrian Relief, 2016, depicting an underwater Paleozoic scene in the style of a textbook natural-history illustration, with labels in Arabic. It features probably the first-ever car—niv-or-ous predator, Anomalocaris—a prehistoric, three-foot-long killer shrimp with hideous bulging eyes and

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