Presenting a reflection on a moment rather than a well structured, overarching curatorial statement, Before explores a state of perpetual yet-to-come and fragile anticipation. The exhibition playfully negotiates Jimmie Durham’s statement that the artist always works “before tomorrow,” before the crux of formation and before the advent of history, while laying out a provisional display of artistic gestures. Ranging from traces of transcendent encounters to explorations of social and individual memory, as well as the emergence of narrative structures and the breakdown of identity, the works featured in the exhibition reject official narratives in favor of a more open and exploratory approach to artistic processes. Taken together, they form temporal clusters that complicate a straightforward conceptualization of linearity and purpose. In doing so, Before suggests the continuous and multifaceted interplay between past, present, and future, as well as exemplifies the challenges and promises associated with graduating from an art academy in New York City.