An inkjet print of a butterfly rests on a piece of worn concrete the size of one’s palm. Shaped like a miniature concrete divider, or a small ancient granite stele, the piece of concrete is nestled among translucent road safety beads, like a small construction site, or a grave. The butterfly is reminiscent of insects pressed into the grills of cars over long drives, especially with the audio component, which is a slowed-down field recording of highways. Pulled into simultaneously macabre, sparkly, transient, and archeological directions, Adelaide Theriault’s Vicarious Memory (sonic-geo-ecologies of concrete), Sediment and Erosion (1-8 of 8) (2021/2024, 2022) represents the contrasting sentiments, and the sediments, of this exhibition.