At some point, the ambition of the artist must face reality: “Next comes a phase of mourning, where you become resigned to finding some limits. You have to make these limits dear to you, and for me that meant coming back to something very personal.” Alongside National Geographic magazines and mass-produced posters are photographs of a young Henrot and her family, favorite books, and homely ephemera. While the room, and the individual items within it, refer to everyday life, the installation and its stream-of-consciousness layout feel more surrealistic than domestic—the stuff of dreams. The one vertical sculpture, Amma’s Door (2014), transformed from a figure in the book, poses as a portal to another world. Here the bedroom is a universe, the artist’s studio is a cosmos, and the gallery is a galaxy unto itself.