The artist collective Biquini Wax’s “Sa la na, a yuum, iasis/ laissez faire-laissez passer” takes the place of kurimanzutto’s ninth exhibition in its “Siembra” series. On view, the collective has used a replica of the superstar killer whale Keiko as the vessel for a multimedia installation, which offers a parodical allegory of Mexico’s economic liberalization from 1986—1996. Open at the midsection to reveal its enormous ribcage, the whale’s carcass has been transformed into an economic metaphor, inside which a composite of objects (ranging from Coca Cola bottles to toy figurines, to swimming fish) has been dumped and strung from its remains. The installation represents three fields of narrative, including Keiko’s life in captivity in Mexico’s Reino Aventura amusement park; his life in relationship to occurrences of mass culture; and the country’s political and economic happenings during the aforementioned time period.