The series of installations on stands depicting diverse situations are held together visuaslly by a coherent internal harmony, much in the way stanzas relate to each other in a long poem. Liliana Porter has left nothing to chance in her preparation and installation of the show. The objects that make up the scenario are mostly toys, broken bits of china, a dilapidated piano, ods and ends foreign to each other, and yet, they find their kinship in the artist's mind and, through her intervention, in ours.
This apparent playfulness is quite serious. It breaks up what might be held as sensible reality into absurd proposals, that go beyond the fairy tale aspect of the installations. We do not see the oger but we sense he is there, somehere in the deep recesses of the author's mind.
There are Kabbalistic innuendos in the doings of the minute characters, who seem entangled in their efforts to achieve their aims.
One is lost between the glorius aesthetic results of the strenuous efforts of the tiny characters, and the fact that they seem to defeat their own purposes.