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This exhibition serves as a continuation of the artist’s 2015 solo exhibition at the Dallas Contemporary, in which Varejão looked to art history—both Native American as well as within the Western canon—for inspiration, producing a tableau that reinterprets the Eurocentric perspective of the New World.

In viewing the series together, Varejão demonstrates how Native American approaches to line, color, and shape influenced 20th century art, especially Minimalism.

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Kokonotsuboshi Girls' Academy of Commerce, a school built on the site of an old castle, nicknamed "Shirojo." One day, the timid Toomi Yuna, who had been living a quiet life at this school, suddenly met two ghosts on the roof during lunch: Enoki Sachi, who died in an accident before the war, and Nagatani Megumi, who died of illness 30 years ago.This should be a person with settled goals in life and a wide range of interests, which immediately makes him/her to be intelligent and interesting interlocutor.If you want to meet someone like this, do not hesitate a minute and join us., 29 portraits of the artist donning the face painting and body ornamentation of Native American tribes intermixed with markings derived from artworks by Minimalist and contemporary American artists, and the paintings, which reference the visual culture of the Mimbres people who inhabited the American Southwest in the 11th century.Together these bodies of work elaborate on Varejão’s longstanding interest in colonialism’s effect on the aesthetics of identity.

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