Tracing the culture and the undercurrents of Rio de Janeiro, Sarah Morris captures individuals and sites involving the history of 20th century architecture, communism and the ubiquitous eroticism which has entered every arena – even the industrial. One of Sarah Morris’ starting points was Orson Welles’ unfinished documentary about Rio’s carnival, It’s All True (1942), but instead of making the participatory spectacle the main focus, Morris levels it out making it just one of a series of events transpiring in the city. The carnival’s filter and effect is seen refracted everywhere and nowhere.