Rochelle Goldberg’s cave-like installations at Miguel Abreu is a topography of abstracted narratives that weave through the galley like an unsettling hallucination. Criss-crossing train-tracks are laid on ginger-root over poured chia seeds, LED eyes and ceramic heads are entombed in Francis Bacon-like steel frames, life size ceramic sculptures are half-covered with animal fur and human hair, papier mache vessels that hold poured chia seeds and ceramic excrement broken into pieces, Medusa snake heads emerge from a modernist daybed made from painted MDF tiles. Goldberg’s material vocabulary is exemplary – the duality of the exhibition gives a cue to its objective. The combination of organic and inorganic materials, the interplay between light and dark, the flipping between past and present, and the see-sawing between slippery and concrete suggest a perpetual cycle of transformation and renewal that proves the past always as a conduit for the present. At Miguel Abreu through May 14.