Describing any of Anicka Yi’s unorthodox works as being “multimedia” would be an accurate, though a severely understated characterization—that is to say, “multi” hardly encapsulates the vast imagination of Yi’s material resources and sensory oeuvre. Take her 2011 piece Convox Dialer Double Distance of a Shining Path. Its material list included a brew of powdered milk, antidepressants, palm tree essence, shaved sea lice, ground Teva rubber dust and a mobile phone signal jammer, all to generate the particular (and reportedly pungent) aromatic bouquet of “a life lived off the grid and on the run.” Similarly, her now renowned 2015 work Grabbing at Newer Vegetables incorporated bacterial samples from 100 women which were then, with the help of M.I.T. synthetic biologist Tal Danino, synthesized into a single strand of bacteria. Yi used this literal culture of women as paint, applied onto an agar canvas (a kind of jell-O-like substrate used to cultivate bacteria). The odor permeating from this installation was, for better or for worse, powerful.

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