In conjunction with the exhibition Made in L.A. 2016: a, the, though, only (2016).

Interested in the nature of museum practices of preservation and conservation, Gala Porras-Kim takes as a point of departure the assumptions that imbue cultural objects and artifacts with meaning and value. For this installationan assembly of drawings, sculptures, and display mechanisms, Porras-Kim partnered with the Fowler Museum at UCLA. She worked with the Fowler's staff to select objects within the museum's collection that are unidentifiedlacking generally understood indicators of provenance and history such as date, medium, or site of originand has proposed hypothetical complete forms for these fragments. Her proposals, in the form of new objects, are singular suggestions for objects whose possibilities for interpretation are infinite.