Corporations are increasingly selling the rights to mine asteroids—massive rocky bodies filled with minerals, metals, and ice that orbit far beyond Earth. These celestial objects, often named after ancient Greek or Roman goddesses, are now being treated like property, with individuals using telescopes to track and trade them. This trend reflects a growing interest in space exploration and resource extraction, raising questions about sustainability, ownership, and the ethics of mining beyond Earth. At the Camden Art Centre, American sculptor Liz Larner has created an exhibition that features half a dozen sculptural representations of real asteroids, each modeled after scans from NASA. These pieces are made from glittery, gritty ceramic, reimagining the asteroids as both beautiful and unsettling. The exhibition is described as a commentary on corporate greed, ecological destruction, and gender inequality, themes that are central to Larner’s artistic vision. Her work often draws from a wide range of influences, including art history, mythology, and Japanese kintsugi—a traditional craft that repairs broken objects with gold, symbolizing the beauty of imperfection. The exhibition presents a bleak, desolate landscape, filled with ceramic slabs resembling ancient fossils, some pockmarked with agates, marble, and crystal. Others are cracked or shattered, scattered across the floor like remnants of a broken world. Alongside these are clusters of plastic waste—discarded spoons, cups, and other single-use items—arranged in sculptural forms that resemble miniature galaxies. While many of the newer ceramic and plastic works are visually compelling, the exhibition’s conceptual depth begins to waver as it expands into broader themes. Some of the older pieces in the show, such as twisted metal tubes shaped like smiles or ribbons and measuring tapes stretched across the gallery, feel disconnected from the newer ceramic works. The exhibition’s newest piece—a gaudy golden arch with a hand and a bird’s foot, referencing the mythological figure Lilith—has been criticized for not fitting well with the rest of the show. The decision to focus on new ceramic works rather than offering a broader survey of Larner’s career has been called confusing, leaving some viewers feeling the exhibition fails to properly introduce her work. Despite these issues, much of Larner’s art is praised for its emotional depth, reflecting on ecological collapse, the politics of resource extraction, and themes of injustice and selfishness. Her newer sculptures serve as a way to process these complex issues, though they do not always succeed in making sense of the world’s current state—just as the world itself often does not.