“Her current series Bread and Circuses names the oldest imperial pacification program on record and stages its sideshow: bodies that breach sanctioned categories survive in public by performing as spectacle, the marginal hiding in the brightest possible light. Inside the act hides the heresy — queer, feminist, and gleeful — that the mongrel, not the purebred, is the truer portrait of any nation, and that identity itself is a costume with something living underneath. Painted in vibrant, layered color that seduces before it unsettles, her hybrids form the second motif: the visible seam where two bodies meet, the join that polite taxonomy prefers not to see..” -Alex Z. Wang from Collective Z