Berenice Olmedo’s is known for her sculptures and kinetic objects, in which she often integrates prostheses and orthoses, revealing the political dimensions of disability, illness, and care. In Nakewé, Olmedo used different perspectives of tumors, visualized in computerized tomographies and processed in a medical software; from which, she transforms clinical materials into abstract forms that no longer directly reference the human body but instead become autonomous entities. Through the assemblage and reconfiguration of orthopedic components, splints, and other medical devices, the artist challenges stereotypes, proposing alternative ways of being rooted in what is often overlooked, excluded, or considered residual. As Olmedo herself states, in the world she envisions, “there is no stigma of disability, but only variations of existence, variations of movement, variations of slowness and speed.”