Margarita Gluzberg left Moscow in 1979, and it is perhaps this occurrence that has led to a long preoccupation with consumer capitalism, object desire and general excess. A biogra-fictional narrative runs through all her work and shows become visual essays. The 2007 show, Funk of Terror into Psychic Bricks, was a work about boxing, love and ritual, and consisted of large-scale colour pencil drawings; while The Money Plot in 2008, explicitly traced the history of capital and how it affects human relations with an installation of paintings, drawings and found ephemera. Her images of 19th-century shopping arcades intertwined with those of contemporary fashion and sexual liaisons created a visual territory from historical, autobiographical, and literary references. As well as having a strong narrative content, each project always focuses on the mechanics of image-production – on questions of representation and of physical construction itself.