Anna Ting Möller’s transdisciplinary practice is propelled by an overpowering story of origin. In 2015, she traveled to Yueyang, a humid and warm port city in southwestern China, in search of her birth mother, to no avail. Instead, a woman whom she stayed with gifted her a symbiotic culture of bacteria and yeast (SCOBY), or what is colloquially referred to as a “mother.”

At TOTAH, Clockwise, a group show that pairs up twelve artists represented by the gallery—literally forming a clockwise chain of curatorial decisions—promises to illuminate both physically and metaphorically the churning undercurrents of interconnectedness that had not been previously spoken into existence. The resulting labyrinthine of intelligent exhibition-making shines with ingenuity of custodianship, elucidating important minor histories punctured by the glorious speed of life.

Adriana Furlong makes sculptures about the grand history of class struggle and the vortical clinamen of economic transformation in Manhattan, from a workers’ town to a neoliberal haven for financial speculation and accumulation.

Occupying the storefront window and back room of a Chinese kitchen supply store on Orchard Street, Sasha Fishman’s solo exhibition Implosion Paradigm Incoming stands ambivalently between an auspiciously camp allegory on ecological catastrophe and a flamboyantly expressionistic manifestation for another world history.

Frances Brady is the moniker of a collaborative project by two queer artists, Brooklyn-based Marta Lee and Chicago-based Anika Steppe, who asynchronously created these works by sending snapshots of their individual lives to each other and appropriating received images. The imagery is mounted on plain white walls in no particular order, and afforded a formal flare of sculptural sensibility by virtue of being transferred onto a physical panel or canvas.