Her film is based on an abstract grid of the city following the movements of a helicopter flying in widening spirals.

This, argues art historian Amanda Boetzkes, is meant to convey “a broader stalemate between sensorial plenitude and economic exhaustion.”[4] Orange Lush performs an aesthetic critique of Mexico’s consumerist economy and the overflowing need for “stuff”.

Smith chose the chemical orange color because to her it always screamed “for sale”, which was fitting for the statement she is making about Mexican consumerism.

[5] Also, Boetzkes says the color orange “marked the invasion of Mexico City with cheap commodities in the 1990s, after inflation and bailouts from the United States and the Bank for International Settlements caused a devaluation of the peso.”[6] This event describes the exhaustion of economics that Smith tries to bring into her Orange Lush piece.

Lastly, one of Smith’s big collaborative performance pieces is Aztec Stadium (2010), done with 3,000 secondary school students, and the whole process was filmed.