The title Opfer (2018) comes from the German title of the film Sacrifice (1986), a posthumous work by Andrei Tarkovsky. In his first solo exhibition in South America, Yan Xing focused on themes such as disaster, control, and humiliation. The original floor of the main exhibition space was replaced with terrazzo and inlaid copper. During production, it had been the site of a performance work involving slaughter, of which the audience could still see the traces. The collection agreement is both a part of the work and spells out both its immaterial and commodity characteristics. Elsewhere in the exhibition space, the artist's interpretation of "performance and restraint painting mechanism" was displayed: Yan Xing had produced a grisaille version of Cézanne's painting The Aqueduct (1885–87, Pushkin Museum of Fine Arts, Moscow) while being submitted to humiliation by an authorized performer. In his practices of translated modernity, Yan Xing questions and reconstructs history and the present, seeks a narrative through the production of the exhibition, and mocks the commodification of art with an idiosyncratic voice.