 The exhibition came about through the creation of the work by Zoe Lennard. And she began photographing this area of the United States and Mexico in late 2016 and in earnest in 2017. And throughout that year her concept for this new work developed. And originally it was part of a project with the Kunsthausbregen in Austria. And because of the time it took for the artist to actually complete the shooting of all of her photography the work was delayed in its making. We had become partners with the Kunsthausbregen and in the end Moudam became the lead institution. And so I'm delighted that Moudam can be showing the world premiere in fact of Al Río to the River. The dual title of the exhibition Al Río to the River is really an indication of how we might begin to understand what this work is about and the themes that are explored through the photography of Zoe Lennard. Of course it's about a river and it's about its course through space, through geographies, through time. It's also about borders. It's about the crossing of those borders. It's about the control of those borders. But it's also about ecology. It's about prehistory. It's about past history. It's about colonial history. It's about present history. And it's about humanity. It was a great challenge to think through with the artist how we might present a work that actually consists of over 400 black and white photographs, 40 colour sea prints and some 20 digital prints taken with a cell phone. So there are three different types of photographic media that are actually contained within the work. The body of the work are these silver gelatin black and white prints which are something of a signature of the artist of Zoe Lennard and the way she frames them or not frames them and presents them in space. We've produced with Hydra Kanz as partners a very, very impressive publication which was conceived by Zoe Lennard and the poet and editor Tim Johnson. Tim runs a bookstore in Marfa and he was a collaborator of Zoe's in the shooting of the photography and in her journey along the Rio Grande. The book is composed of two volumes. One volume is purely of images. So people will be able to follow the work as book by turning the pages. It's quite a different experience to experiencing the work in space but it's another iteration of the work in many ways. And a text volume and this text volume is extremely important. It contains over 20 contributions. It consists of essays of texts of conversations by authors from the United States and from Mexico talking about different aspects of the river from its geological beginnings to its colonial history to the journalistic realities of living in that part of the world. Two questions of cartography, landmass, rock painting. So the book creates a beautiful and I think multifaceted framework in which the viewer might appreciate the photographs and the work of El Rio.