Miklos Onucsan’s artistic career spans three decades of political and social change in his native Romania: Communist rule in the 1980s, the transition to democracy in the 1990s, and membership in the European Union in 2007. Onucsan’s work is deeply intertwined with this fraught modern history, which he explores in his evocative performances, installations, sculptures, and photographs. In Object to March With (1995), for example, he presents a partially unrolled banner, evoking protest or crusade imagery, while Self-Portrait by the Yard (2010) is a sculpture presenting the artist as a manufactured woodcut devoid of humanity. “My works aren’t born as arguments for a pre-formulated philosophy which they try to illustrate,” he explains. “They aren't works made out of some kind of knowing, but more out of unknowing. They don't represent any answers, but rather my own way of asking …