Byron Toledo: The Whole Water of a River takes the Machángara River of Quito, Ecuador as its point of departure — understood not as a fixed natural entity but as a shifting urban system shaped by extraction, waste, and regeneration. Approximately ten ceramic objects assemble sediments, sounds, and smells of the river into sculptural form: a ceramic opossum from the Animales de quebrada series embeds riverine fauna with spiritual and ecological significance; Inventario Cascada preserves organic remains — leaves, flowers, stones — as a sensory map where the organic appears as trace rather than representation. Distilled plant aromas and soundscapes of water moving through the city activate the river within the gallery space, proposing it as a force that implicates those who encounter it in its transformations.