The Project 88 booth features artworks that emphasise material and organic structures and techniques to consider notions of transcendence, impermanence, and abstraction. The works collectively subvert socio-political divisions and norms by directing attention towards geological time, and the inherently interconnected nature of all physical materials and processes. Hemali Bhuta's Inlaid Out exploits the materiality of basalt and wood to capture the gesture of abrasion, highlighting the process of continuous breakdown throughout the course of time. By recalling and further submitting itself towards greater transformation the work suggests the inevitable nature of change. Hemali Bhuta (b. 1978) lives and works in Mumbai. In Touching Integrity, Neha Choksi reverses the process employed in traditional woodcuts to exploit the grain in a way that explores notions of presence and absence, the past and future. Neha Choksi (b. 1973) lives and works in Los Angeles and Bombay. Sandeep Mukherjee's Tree Skin features a topography that hybridises organic matter such as flesh, skin, and stone to consider interactions between physical dimensions of material and historical experience. The work invites viewers to consider nurturing as well as violent aspects of our relationship to nature. Sandeep Mukherjee (b. 1964) lives and works in Los Angeles. In Rohini Devasher's Bone Tree series, trees are presented as bodies made of bones and cartilage in fractal images, which are captured through forensic, botanical, and biological lenses. Devasher?s process employs technology to transform the literal to the uncanny. Rohini Devasher (b. 1978) lives and works in Delhi. Khageswar Rout's Study of Nothing immortalises the intricate and labyrinthine designs found within organic objects that are destined to perish. The fragile nature of the work itself suggests the innate impermanence of structures that appear ostensibly to be perennial. Khageswar Rout (b. 1992) lives and works in Kolkata.