A chest-high wall created a corral or, perhaps, a stage. To enter the bounded space of Delcy Morelos’s earthen landscape Moradas (Dwellings), 2019, one had to pass through an opening and walk along a path of bare concrete. Coating the floor, a dried, shallow crust of dirt was host to an array of objects bearing telluric patinas. The white gallery walls and pillars were likewise covered to chest height, delineating a sharp horizon in a striking formal gesture that gave one the impression of being surrounded by a dark sea—or, alternately, of having been buried alive.

The gathered objects—which