Ai Weiwei (I know, I know) puts in his two cents via Safe Passage, 2016, two columns wrapped with
life jackets — recovered from
actual refugees fleeing regional destabilization, though whether the items hail from the successfully emigrated or the lost at sea seems intentionally ambiguous — looming outside a large window of the Yokohama Museum, perhaps the most drastic image of recycling attempted in a triennial yet.