What Comes Next / O Que Vem Depois is a group exhibition curated by Tamar Guimarães and Kasper Akhøj, bringing together artists from the Fortes D’Aloia & Gabriel program across different generations. The exhibition begins with situations of offering, exchange, waiting, transformation and desire in order to bring together works that, although produced in different contexts, seem to continue into one another. It explores the ways these situations appear in the works themselves and in the situation of the gallery.

What is assembled here can be understood as a gallery archive, a business lounge or a sacrificial site. None of these definitions fully describes the exhibition, but each helps to think about what takes place in this space: a place where things change position, change hands and take on new forms.

Works are placed in proximity so that elements present in one reappear in another under different forms. An object may first emerge as a body, then as a support, then as a prop or a remainder. What appears in one work does not remain there, but continues in another, taking on another form.

Across sculpture, photography, film and installation, the exhibition follows different forms of circulation. Bodies, objects, artworks, desire, value and forms of exchange circulate. Circulation appears here as a material, social and economic condition directly tied to the situation of the gallery and the market.

When a man reclines by a pool, is it leisure? Or are we looking at someone about to be offered, consumed or sacrificed? The point is not to replace one interpretation with another, but to make it difficult to separate these situations. Pleasure does not appear here as the opposite of consumption or offering. On the contrary, the exhibition suggests that they are part of the same situation.

The stone bench Minor Altar, by Guimarães and Akhøj, occupies a particular position within this structure. At once a seat and a stone of offering, it suggests a place where something may be presented, negotiated, awaited or sacrificed. More than symbolizing these situations, the work helps to organize them concretely within the exhibition space.

In this context, the market does not emerge merely as a theme, but as one of the conditions structuring the exhibition: a field in which value and desire remain intimately linked, and where what circulates rarely returns in the same form.