As objects, the individual pieces in Héctor Zamora’s exhibition “Movimientos emisores de existencia” (Existence-Emitting Movements) were intriguing. Gathered together in a large oblong island at the center of the gallery, they were clay forms that looked like terra-cotta shells but were in fact vases, the kind that many cultures around the world have historically used to store essentials such as water and oil. These vases, however, would never be employed for such purposes. Zamora had 650 of them put on the floor when they were still fresh, unfired clay. He then, in a performance on the opening