Just about a month ago I was walking through the National Museum of Anthropology in Mexico City, and came upon a pair of legs carved by a Toltec artist. Broken off thigh-high, they fulfilled all the poetic potentialities of Shelley’s “two vast and trunkless legs of stone.” In the uptown iteration of Huma Bhabha’s two-part exhibition Welcome…to the one who came, a pair of legs in cork titled My Ancestor (2023) stands on a pedestal, again easily recognizable as a shorthand for dethroned monumentality and warmed-over hubris. Bhabha refers often to science fiction in her work; the ultimate confrontation between humanity and otherness. But as we know, science fiction is largely a projection of our own fears about ourselves, and in these two exhibitions of graphic works and several choice sculptures, Bhabha plays with the struggle to enter into the minds of our ancestors, as well as the unpleasant acknowledgement of a creepy pseudo-fascism or impulse to domination that seems to inhere in a great deal of archaic art.