“Contamination creates forests,” Anna Tsing writes in The Mushroom at the End of the World (2015). She uses “contamination” here as the condition of all living matter, the cross-species collaboration through which anything at all comes into being. “Everyone carries a history of contamination,” she proclaims; “purity is not an option.” This refusal of purity exposes the impasse of an ecological imagination still tethered to the dream of a pristine nature. How to narrate life entangled at once with geological time, computational infrastructure, and colonial history? How to think ecology beyond the fantasy of an untouched nature “out there”? Timur Si-Qin’s Mariposita (2026), unveiled this June at Art Basel Unlimited, takes up these questions in sculptural terms.