Introduction

With more than one publicly accessible entrance, the grounds of Middelheim Museum offer multiple entry points and trajectories throughout Henrot's oeuvre, which include works from the series Overlapping Figures (2011), Desktop (2013-2014), Monday (2016), System of Attachment (2018-2021) and Wet Job (2021-2022). Presented in both indoor and outdoor spaces of Middelheim Museum, Henrot's works engage directly with their environment. She states, "I didn't want the sculptures to overpower the landscape, and thought instead that my work could occupy space in the way that natural bodies would - that they could exist alongside a rabbit, a cow, a mushroom, a stone." Working together with the museum team and city gardeners, Henrot ​ selected wildflowers that would be left to grow freely over the course of the five-month long exhibition. While the wild meadow obliquely recalls Henrot's past works involving flowers (see Is It Possible to Be a Revolutionary and Like Flowers? (2012) or Jewels from the Collection of Princess Salimah Aga Khan (2011-2012)), the present intervention underscores the porous nature (and the porosity to nature) of the exhibition as a whole.