In her videos, photography, performances, and works on paper, New York-based artist Vlatka Horvat has explored absence, memory, and concealment by juxtaposing the component parts of a given system, such as the human body, against the backdrop of the world at large. The artist creates an uncanny environment of projected images, modified found objects, and architectural “propositions” in which the body and the space it occupies are presented as a sites of delusion, collapse, and fragmentation while still offering an alternative model for reinvention, resistance, and play. Ana Prvacki’s works take the form of varied projects and enterprises that draw on performance, consumer aesthetics and popular style to investigate our increasingly dematerialised economy of services and ideas. In 2003, Prvacki founded Ananatural Production, an innovation and lifestyle consultancy combining conceptual concerns, contemporary issues and various modes of communication to distribute ideas, recipes and instructions for various types of experience. Prvacki’s installations are often participatory, promoting and providing products and services to the audience, such as money laundering in The Money Mountain (2008), where she ‘washed’ people’s paper money. For the Sydney Biennale, Prvacki explored the provision of a service – eliminating pain. She plays and practises her flute to generate saliva. Through a simple alchemical process, the saliva is collected and transmuted into a special, music-derived painkiller.