“Generalización” (Generalization), a decade-spanning survey of Tania Pérez Córdova’s work and her first solo museum present in Mexico, superbly interweaves the artist’s lengthy held pursuits in time, materiality, and nature whereas quietly staging a dialog with the museum itself. Within the small outside backyard that homes Tamayo’s memorial plaque, delicate gold chains dangle virtually invisibly above—and pierce by means of—the leafy palms of a concrete planter, the chains’ swaying motion progressively scarring the fronds (“Rain,” 2022–). Indoors, longer chains, some with seeds and pits, others with cash, puncture plastic replicas of the selfsame crops outdoors. Elsewhere, bronze casts of home windows (reminiscent of This Store Went Out of Enterprise and Reminiscence of a Room, each 2022) additional Pérez Córdova’s exploration of the materiality of sculpture by means of the melting and recasting of objects, defamiliarizing them and rendering them unusual. Whereas the survey consists of Portrait of an Unknown Girl Passing By, 2019, and You, Me, Us, Them, 2022—works that give rise to refined, periodic performances within the museum (fortunate viewers could spot a lady carrying a gown that matches the vase, or somebody with multihued contacts strolling across the galleries)—additionally it is refreshing to seek out post-Covid humor discreetly trickling in. 1:33 pm and 1:34 pm, each 2022, two giant sheets of glass urgent collectively on a regular basis detritus, bear witness to the march of time whereas suggesting one thing like a tongue-in-cheek, domesticated model of Marcel Duchamp’s The Bride Stripped Naked by Her Bachelors, Even, 1915–23, whereas Strike, 2018–22, a home made loaf of bread stuffed with cigarette butts, alludes to Italian bakers’ strikes and to the yeasty obsessions that flourished in the course of the top of the pandemic.