A Mexican artist currently living in New York, González's installation suggests the phenomenon of memory. As González (b. 1951) has written, memories of past experiences may become sharp at one moment, only to fade into the recesses of consciousness at the next. Evoking this state of flux, the artist's installation uses translucent paper, and battered, bent, and folded wire fences discarded by farmers, which she has gathered in rural New York State. Dim illumination and the motion of a small fan turns these sculpture-like shapes into evanescent shadows. In this respect, González draws out the poignancy of found objects as residues of experiences lost to history that nevertheless remain tantalizingly allusive.