CAPTURING MULTIDISCIPLINARY ARTIST ORLY ANAN’S VISTAS DE UN HOMBRE EN LLAMAS AT GUADALAJARA’S MUSEO CABAÑAS FELT LIKE ENTERING A LIVING MYTHOLOGY. HER METICULOUSLY CONSTRUCTED BEINGS—NEITHER ENTIRELY HUMAN NOR ANIMAL, BUT SUSPENDED SOMEWHERE BETWEEN RITUAL, FOLKLORE, AND DREAM—MOVED BENEATH THE MURALS OF JOSÉ CLEMENTE OROZCO, ONE OF MEXICO’S GREAT MODERNIST MURALISTS, AS IF INHABITING A HISTORY OF THEIR OWN.