By Philip Leonard Ocampo
At the opening of Muscled Rose, I didn’t get a proper look at Divya Mehra’s There are Greater Tragedies (2014). The same goes for my return visit, as the wind is blowing the large flag in a direction that makes the text on it difficult to read. I feel unfocused anyways—my mind is fixed on an argument I had with my parents about leaving home last year. I tell myself that I’ll see the flag on my way out and enter the gallery.