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Erika Velická composes the tone of her work through the inclusion of “non- sculptural,” peripheral, and subtle components, such as a poster, the weathering of walls, or even the clothes she plans to wear while “supervising” the work during its presentation. A disparate mix of themes and inspirations—from the Baroque, Russian Cosmism, and Ilya Kabakov, to reflections on rape, the present and past of the political left, and, last but not least, ketamine psychedelia—would certainly fall apart without the dominant medium, which at this moment remains sculpture, together with its unifying material and color. In this way, Velická makes full use of her classical sculptural training, not least by overcoming the false yet widespread dichotomy between so-called “traditional” and “new” creative methods in art. Despite her clear focus on sculpture, the artist moves confidently within the media- and conceptually-extended field of contemporary art.