This second iteration, La Minga, Sorrow and Joy, situates that methodology within a shared political and emotional terrain. The exhibition explores the complex coexistence of grief and joy as intertwined conditions of contemporary life. The participating artists engage themes of migration, environmental collapse, historical memory, colonial legacies, bodily autonomy, technological transformation, collective resilience, and healing through community.

The exhibition unfolds as a sequence of responses, connections, and transformations. Susan Salinger's Letter to Janet begins with an intimate meditation on grief, memory, and collective healing, transforming personal loss into a participatory act of shared presence. Responding from another perspective, I, Yohanna M. Roa, present Textile Woman, which examines the entanglements of care, domestic labor, bodily autonomy, and liberation, drawing on family memory and the histories of women's work. Mary Mattingly's Wearable Homes extends these questions into the realm of ecological survival, imagining portable forms of shelter, community, and adaptation in the face of climate migration and environmental collapse.

Monika Weiss's Lethe-Medusa transforms lament into an ecofeminist act of deep listening, bringing together memory, forests, rivers, grief, and the enduring force of women's voices. Cecile Chong's Wailing Cacti continues this reflection through a meditation on migration, environmental fragility, and resilience, where cactus forms appear simultaneously as tears, seeds, and displaced bodies. Lilia Ziamou's The Bone Wore a Bra shifts the conversation toward the body itself, exploring vulnerability, repair, technological intervention, and reinvention through sculptural form.