“There are fingers everywhere,” Erika Verzutti has said of her work. In the Brazilian artist’s first solo exhibition in a British museum, which includes more than forty works made between 2003 and 2021, fingers really are everywhere—or have been: fingers impressed, poked, dug, smoothed, caressed; fingers gouged into concrete, Styrofoam, or clay, which is then cast in bronze. Verzutti’s bodily work wants to make its processes seen, known, even felt. “For me, that’s a desperate need to share the experience,” she said in a 2015 interview, “the contact with the clay: wet, smooth, firm, cold, and so