Some unifying ideas emerge, particularly around nature’s ephemerality and its formal dictates, but the divergent array of artworks on view eventually strays from the exhibition’s compelling concerns. Diné artist Raven Chacon’s aural composition Study for Vertical Earth (2026) fills the foyer: a thunderous, bass-heavy score, the result of underground microphones recording subtle earthly movements. Nereyda Lopez, Ta+fe / Sacharuna, 2019, vegetable fibers and wood, 95 x 40 x 40 cm. At best, Several Eternities vocalises the radical ‘shared aesthetic language’ of a growing force in contemporary art, but too often its inclusions dissolve into illegible survey. Several Eternities in a Day: Form in the Age of Living Materials at Hammer Museum, Los Angeles, 5 April – 23 August