A bowl of fruit is a classical subject in European painting. A long roll of paper might provide the perfect surface for a calligrapher’s strokes or an ink painter’s depiction of a beautiful landscape. A well-tuned piano’s strings vibrate at just the right frequencies for the musician sitting in front of it and playing its keys. Yuko Mohri, however, has other ideas about the potentials for these objects and materials: ones that you didn’t necessarily expect to see, or hear—or even smell. Visitors to the Japan Pavilion at the 60th Venice Biennale in 2024 will have an opportunity to encounter Mohri’s latest installation. Fruit will be a component, she says, as will electricity as a source of sound, motion, and lighting, among other experiential elements. Her project for Venice builds on several series she worked on during the years of the pandemic, when disruption to normalcy became its own paradigm of unpredictability, when the order of the world was more unstable and precarious.