Yanira Collado’s work centers on the concept of the restoration of cultural memory, enacting a symbolic form of archeology by which “mute” objects whose meanings have been dulled by the passage of time become active once again. Collado summons these lost meanings by working with well-worn objects, which range from reclaimed literary texts to used construction materials. The complex, multilayered surfaces of the assemblages that result recall geological strata, serving as ready metaphors for hidden or forgotten histories while evoking socioeconomic divisions and hierarchies.   Collado’s Untitled/sumando lineas consists of large sheets of drywall supported by a wooden structure, onto which the artist has adhered layer upon layer of material, resulting in subtle, irregular patterns. Collado was specifically inspired by the work of Pecolia Warner, a Mississippi textile artist whose work recalls certain patterns that appear in traditional African textiles, particularly the fabrics of the Shoowa people of the Kuba region of the Democratic Republic of the Congo. The surface of Untitled/sumando lineas also features painted or transferred symbols, semi-hidden elements that relate to the coded language employed by runaway enslaved people in the United States on their journeys northward via the Underground Railroad.