Nearby, a series of framed tile-based works gathers the detritus of betterment: a resin orange rind, a pill bottle, and brightly glazed ceramic cosmetic tubes nestle in the grout of various bathroom tiles. It’s a feast of texture, neatly packaged and rendered wholly unappetizing. Harris-Babou’s usual use of the grotesque toned down into something almost mournful. These works feel akin to fossils, the last remnants we’ll have after society runs itself into the ground through physical and environmental collapse. In each of these framed tableaux, from Confetti 2 to Green Swipe and Rind (all 2023), the artist has incorporated small, vibrantly hued divots, each ceramic indent meant to mimic the chronic swiping of devices that links the objects in the exhibition. Hands, a frequent motif in Harris-Babou’s video work, exist as phantom culprits here, leaving only disembodied traces of their mindless acts behind.