Drawing connections between botany and colonial conquest through the model of the botanical garden, this exhibition reflects on the migration of materials, ideas, and cultures through case studies of eight plant species found in Southern Yunnan: cinchona, horsfieldia, konjac, nutmeg, rhododendron, rubber, tobacco, and turmeric. Artworks are positioned like roadblocks in this large, ex-industrial white cube, so that the visitor must meander around them and, like these migratory species, chart unpredictable courses. At the entrance, a TV screen supported by two metal poles shows mosquitos drawing blood from human skin, then copulating. Isadora Neves Marques’s hyper-realistic digital animation Aedes aegypti (2017) depicts, as the exhibition text explains, a particular type of mosquito subject to genetic modification by biotechnology company Oxitec. To combat the diffusion of malaria (traditionally treated by quinine derived from cinchona), a “self-limiting” gene is injected into male mosquitos, meaning that their offspring don’t survive into adulthood. An alternative antidote is disclosed on the wall behind the viewer: a botanical illustration of quinine from the Illustrated Manual of Chinese Trees and Shrubs (1937), printed in blue. A trail of black particles leads across the floor to a metal trolley marked with letters in Mandarin “勘界” (Boundary Survey), repeated …