María Berrío belongs to a generation of artists who use the female body to explore wider social and political issues through fantastical magical realism. Her large-scale paintings evoke idyllic landscapes in which female characters actively engage with the viewers, subverting the male gaze, showing their power and vulnerability. They depict women in luscious natural settings engaging in actions that evoke a sense of limbo or uncertainty and often wearing fabrics that reference the South American folklore and mythology from minority groups such as the Kogi people from Santa Marta, Colombia. In Anemochory, Berrio hints at a desert setting by depicting a dragon blood tree, a species native to the island of Socotra in the Indian Ocean. The inverted quality of its roots suggests an allusion to immigrants. The figures in the painting appear to be in a dreamlike setting, in a state of limbo. Considering Berrío’s interest in depicting displaced immigrant people, Anemochory can be interpreted as a representation of the uncertain yet hopeful pathway people take to migrate, embodied here by the landscape and the actions of the characters, which allude to the idea of waiting for the next step to take in this journey.