The installation consists of two physically separated elements that nevertheless form a conceptual whole. The dual spatial arrangement emerges from a single room, its walls cut away along two horizontal lines, one just below the ceiling and the other just above the floor. Car jacks and adjustable construction props serve as supports for a provisional illusion. The conventional notion of the museum space is opened up: an exhibition space, a shelter, a place for reflection, a site of inclusion and exclusion—both inviting and repelling. The walk-in installation becomes a stage for visitors, drawing attention to the constructed nature of their surroundings.

Pride and Glory responds to the building's architecture and its layered history of use. Originally built as a cotton-spinning mill from 1884 onwards, the spaces are now used as exhibition galleries.

Photos 5–7, 9: Nicolás Rupcich