Regina Silveira’s work revolves around the shadow, with its rich associations with death, evil, and uncertainty. Silveira’s “shadows” (usually consisting of black paint or vinyl panels) seem to be cast against the wall in the absence of a figure, creating an eerie, ghostlike effect. Beyond the dazzling perceptual effects of her work, Silveira has used the shadow motif to convey political subtext, to address historical notions of illusion and volume, and to establish metaphorical links with art historical landmarks of the past.   Escada Inesplicável 2 exemplifies the illusions Silveira is known for. Her choice of a stairwell image in this large-scale piece creates an M. C. Escher–like sense of vertigo and infinite regression, while confounding the viewer’s perception of negative and positive space. By playing with the seen and the unseen, Silveira underscores the notion that the visible world is to a large extent determined by each perceiving subject’s relative position within the world (an idea that can be readily linked to her Brazilian Neo-Concrete predecessors, including Lygia Clark and Hélio Oiticica). By extension, Silveira suggests that we should not take for granted the degree to which reality is fixed and universal.