The show includes a small but representative selection of Ai’s sculptures and installations, as well as a video. Each piece is layered with references—to China’s past and present, forms of labor and production, and the value of an individual’s life and rights in a society shaped by authoritarian governments. Commanding the center of the gallery’s courtyard, Tree (2015), as its title indicates, is a massive tree, albeit one that appears more dead than alive. Leafless and uprooted, it is composed of large fragments of wood that the artist gathered in the mountains of Jiangxi Province. In the past, this wood would have been valued for its unique grain and twisting shape. Artisans would have crafted it into furniture, each piece reflecting its natural source and the hand of the person who made it. Such values and ways of working have been replaced by assembly line economics, leaving it to artists like Ai to remind us of what has been lost in China’s relentless modernization.