The first stage of the two-part exhibition “More, More, More” opened in July as Shanghai’s monthslong “plum rain” season drew to a close. The steamy climate and general mugginess provided a fitting context for the thirty-seven works on view, especially for the moss creeping along a staircase wall in Jenna Sutela’s Bo Bo Bo, 2020, or the mushroom lamps thrusting up from the floor outlets in Ghislaine Leung’s Shrooms, 2016—both works acute reminders of the surrounding environment nurturing and sustaining our various bodily forms, human and nonhuman. These pieces emerged, in part, from the a priori