Lot C is an exhibition of new, existing, and adapted work by Jason Hirata and Park McArthur. It is also the first occasion to experience the interplay between their respective practices, which have been entwined both conceptually and in their realization, for over a decade.

The title is lifted from a line in McArthur’s Day (2023–): “I owe you a day at the beach. Do we meet at parking lot C? No. The tide is low. Low enough to bring the car.” In this artwork, the description of a trip to the seaside, written as a “love letter against ongoing isolation”, becomes an envelope for the exhibition, which also extends beyond INCURVA. For instance, Hirata’s new piece, Circle (2026), is a card printed with a request to drive to the Lazzaretto–a former 19th-century quarantine station on Trapani’s westernmost point. Now a popular hangout and tailgate party spot in the summer months, the road there loops around a large open space before returning to town.

Hirata also presents several sculptural works that integrate their immediate surroundings into their making. Two wooden boxes, the latest additions to the artist’s Accumulator series (2024–), are currently installed in and around Trapani. They function as shelves in public space, spontaneously accumulating and shedding items left or taken away. Meanwhile, at INCURVA, supplies from the storeroom are bound together with rubber bands to create an ad hoc arrangement. In Bubblegum (2026), materials usually hidden from view become both the medium and content. In a further engagement with public material as sculpture, Hirata has asked for the concrete traffic bollards (typically found directly outside the entrance and affectionately referred to as ‘panettoni’) to be temporarily installed and documented inside the exhibition (Bocce, 2026).

Overlook Park (2017) and Summer 2014 (2024), two photo series by McArthur, hang in newly created pairings. Shown together, they join documentation of signs around Manhattan, New York, with those of a picnic bench in a park in Brunswick, Georgia. Another photograph, How to get a wheelchair over sand (2013), depicts a composition of boards and mats laid atop an expanse of sandy ground. The artist’s new sculpture, Kilometer Ramp (2026), shown here for the first time, connects How to get a wheelchair over sand to everyday life: in this case, a ramp and handmade support used by the artist, her friends, and family.

Returning to Day, an audio recording of the full text plays intermittently, and a transcript is also freely available in English and Italian. Additionally, an excerpt has been hand-painted directly onto INCURVA’s walls, where possible. As a text that one must move around to read, this particular adaptation changes position and perspective. While the installation is reminiscent of Félix González-Torres’ Portraits series (1989–1994) or Edward Krasiński’s line of blue Scotch tape, here, the partial fragment of McArthur’s original text turns the artist’s use of description into something more akin to a verse or poem with line breaks and caesuras.