In her multimedia practice, Priscilla Monge explores the subtle machinations of power and its manifestations in the perfunctory aspects of life. Monge stages commonplace scenes, such as soccer pitches or tea parties, but undermines the innocuous quality of the familiar with bizarre or violent interventions. Based in San José, Costa Rica, Monge has participated in the Venice and Liverpool Biennials. In the latter, she constructed a soccer pitch with hills that impeded play. The installation questioned how changes to built environments alter behaviors. Although politically motivated, Monge’s work conveys a sense of whimsy that suggests an absurdist dimension.