speculation is nimble and polymorphous in this way. the reason it produces such scattered temporalities is because speculation itself is a principle of constant mutation, thereby its forms are prompted to mutate with it. its profitability for financial institutions is dependent on these endless micro-movements, and such movements are only possible when the moveable goods at the center of trade adopt these same qualities. perhaps, then, there is hope in the fact that in a material sense, this is an impossible ask, for even if a physical asset is abstracted into a bullet point which is buried within a thousand-page derivative contract, it cannot be instantaneously conjured from or transported across the surface of the earth. after all, form is textured and messy. form leaves traces. to name a speculative form as sculpture is thereby not to attempt to freeze it in a moment in time, or to merely valorize the broad concept of materiality, but to recalibrate the form’s functions toward a freely imagined temporality other than speculative growth. sculpture is, of course, an imperfect process riddled with complications and contradictions, but it is precisely this quality which deems it a worthy resistance to the forceful smoothing of material by speculation into forms which were only ever designed to function in the financial realm. perhaps there is potential for sculpture to serve as a reclamation in this respect—not only of form, but of futures at large.