“[A]re humans able to resist together with plants and animals?” With this question, Zdenka Badovinac and Bojana Piškur invite viewers to consider the possibility that all living things can coexist—and co-resist. Most animals are so dependent on human actions and choices for their survival: they likely do not ponder ways to revolt against capitalism. Unless, like the animals in George Orwell’s Animal Farm (1945), they already have an anthem, a flag, and the Seven Commandments necessary to rise against humans. Indeed, we might imagine that animals have already elected a new species to act as leaders, and decided what position humans will occupy. But why would humans—who use animals for food, religious rituals, transport, and entertainment—be granted any position in the animals’ new world? Several works in “Heavenly Beings” explore potential synergies between humans and animals. Maja Smrekar’s Hybrid Family (2016), for example, is a series of black-and-white photographs documenting a three-month performance during which the artist trained her body to produce breast milk, which she fed to a puppy she was living with. Correlated in content and form is Opus et domus (2018), in which Smrekar spins yarn from dog and human hair on a spinning-wheel. Broaching gender, family values, …