[2] Composed of living, ephemeral, and synthetic materials, ranging from chia seeds, oil, to ceramic, Goldberg's works are structured by "the logic of intraction," the artist's phrase for "an unruly set of relations in which the boundary between one entity is another is continually undermined.
The accompanying text, “Notes on the Cannibal Actif,” described the marks as “like turtles that will soon collapse under the weight of their jewel-encrusted shells,” in a reference to Joris-Karl Huysmans's novel À rebours (Against Nature, 1883).
In ArtReview, Barbara Casavecchia characterized the installation as staged allegories of “enhanced rhythms of growth, decay, and forced revitalization” under the current cycle of consumption and the Anthropocene.
[2] With plastic thirsty “as a condition [that] articulates the simultaneous occurrence of fluidity and dehydration in the industrial lubricant,” the show sought to question “modes of connectivity that equally transmit a loss of contact or a rupturing of terms.”[12] Among the works in the site-specific installation were "For every living carcass I and II" (2016), a human-sized pair of desiccated fish skeletons; "Try Again, I, II, III, IV, V" (2016), a series of Magic 8 Balls; and "Iron Oracle" (2016), a contour-line sculpture of a steam engine coated to hip-height with chia seeds.
Loosely modeled on Donatello’s “Penitent Magdalene,” which juxtaposes a feminine face with masculine shoulders and feet, Goldberg's busts rested on palettes of tile in carved and painted fiberboard.
[16] Consisting of unexpected combinations of materials, including brass, fiber optics, vinyl and cast iron, the sculptures transformed the narrative of the Marys and examined the relationship between bodily decay, survival, and the tactile world.
[19] Situated in the former West Berlin bar frequented by male sex workers, the installation constituted of a bronze mask was staked at waist height over carpets; scattered LED strands; lit “matchsticks”; light switch plates; and loose celery roots.
[21] Included in the show were "Picnic" (2020), a baked bread dough laced with metal coins onto glass bowls; and “Soiled [Resurrected]” (2017–20), a work inspired by the story of Mary of Egypt.