Fantasías Modulares brings a Modernist past into a distinctly queer future. The exhibition’s title, for example, is motivated by Minoliti’s interest in modernist design and its embrace of modular elements that can be moved, separated, and reconfigured to produce new, mutable objects. She uses this methodology in her character construction — like the net-based project PLAY SIGNIFICANT OTHERNESS (2015) whose romping figures shake, share, and switch the shapes that assemble their geometric bodies — but also in her configuration of the gallery’s physical structure. Three curtains — blue, red, and yellow — are inhabited by dancing hybrid figures and flora. Their style departs from the creatures and works which surround them: Deep colors, retro flowers, and op art call back to a vintage aesthetic of the 1960s and 70's.

Grinning triangles, lounging cows, and winking circles populate the vibrant, queer landscapes of Ad Minoliti’s imagined worlds. Trained as a painter, Minoliti draws on the rich legacy of geometric abstraction in her native country, Argentina, where geometry was used as a tool for picturing utopian alternatives. By combining abstraction with playful figuration, Minoliti upends familiar fairy tales, turning them on their head. She is particularly interested in disrupting pictorial cultural norms that uphold traditional views of sexuality and gender.
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The artist sees many of these cultural norms established in the formative stories of childhood. In contrast to these indoctrinations, Minoliti uses her work to picture alternate realities free of biases by utilizing diverse, colorful, and playful hybrid forms. Her characters are non-binary, challenging the usual categories of male and female, and also blurring boundaries between human, animal, and machine. Her work frequently unsettles anthropocentric views of the world and allows hierarchies between humans and non-humans to dissolve. Working in both two and three dimensions, and between the vocabularies of painting, sculpture, architecture, and design, the artist also collapses traditional categories in art history to harness a more capacious and fluid language. This activation of other beings, entities, and otherwise inanimate objects generates a multitude of possibilities — joyful, colorful, and inviting of a more inclusive world.