For someone who has spent two decades perfecting the art of slow, imperceptible infiltration, Uzbek filmmaker and artist Saodat Ismailova has had a paradoxically prolific 2025—five major solo exhibitions, over 15 group shows, and three awards. Yet this quiet recognition mirrors her strategic invisibility.

After her major institutional survey closed in January at Milan’s Pirelli HangarBicocca, Ismailova presented “Abyss Between Two Mountains” at Museu Amparo in Mexico. From multichannel projections on silk that dissolve post-Soviet Uzbek landscapes into imperial mirages to fragile fabrics billowing from the earth’s troubled core, the exhibition was a spectral cartography of erasure.