Drawing on more than two decades of work, “They Live” was Huma Bhabha’s largest survey to date. Curator Eva Respini deftly highlighted the artist’s remarkable range of temporal and spatial reference points—from the primeval to the present; from Cuzco, Peru, to Karachi, Pakistan—while focusing on her imagery of the body. Together, the selected pieces expressed complex critiques of what it means to become “civilized” and to civilize others—and attended to the damage inherent in both processes. Although Bhabha leaves her work open to multiple readings, Respini framed those questions, to some extent,