This walk is looser than the others, but the through-line is real: all three stops are about what happens when a material or an object refuses the category it was assigned. Susan Sheehan’s Living in America assembles master prints for the Semiquincentennial — Celmins’s obsessively patient oceans, Ruscha’s deadpan horizons, William Henry Johnson’s screenprinted Harlem — and the medium is the argument. Printmaking is the democratic multiple, the image released from the singular hand, and the show uses that to ask what American cultural identity looks like when reproduced at scale: who gets included in the ’America’ being celebrated, and whose image counts as a master print. Johnson’s Harlem Renaissance screenprints sit that question on the wall beside Warhol’s Campbell’s Soup, and the distance between them is the whole contested history. Kragelund at island works from the opposite direction: his paintings are built from industrial materials — enamel, fibreglass, epoxy, oxidized steel — and they use the physics of material degradation (the Mach band effect, the way gradients appear lighter or darker than they are) as a painterly argument about the hidden violence in everyday commercial infrastructure. He makes the object refuse its surface reading. New Humans, if still open, is the century-long context for both: 200 artists across 100 years on how technological change rewrites what it means to be human — a contested definition that runs from Bellmer’s broken body to Anicka Yi’s aerobes floating in the OMA galleries. A thinking walk more than a sensory one.