In Dead Fish, Nicolas Party surveys his practice through oil-on-copper paintings, each of which is a small-scale reworking of an earlier composition. While copying himself, Party also engages the long art-historical tradition of reproducing paintings by the masters: from Francisco Goya’s Still Life with Golden Bream (1808–12), he has created a direct pastel-on-linen study. The study inspired a related oil-on-copper still life of Party’s own, which in turn became the basis of the pastel mural at the apex of the exhibition. This array of dead fish winds time around itself, bringing the past into the present.