The disturbance of heritage is a reflex left by Eduardo Enrique’s work as a marketing creative and an eternal immigrant. Enrique smiles at cultural appropriation as a naive denial of society’s interconnectedness, and at vandalism as a performative cry from our unresolved societal trauma.

In CASH ONLY, a digital experience produced for ART IN SPACE and curated by SO-FAR, the artist presents digital assemblages of ancient pottery jars excavated in Sharjah adorned with contemporary found objects. Using museum data as raw material, he prods at cultural worth and the impacts of globalization. He invites us to reflect on the critical role these ancient objects played in shaping their economic systems, and parallels that exist between now and then. Immersed in the inner workings of an obscure antiquities market, CASH ONLY is titled after its source’s cunning transactional reality.