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In this essay, Kate Sutton examines the literal and implied effects of the work of Christosdoloulos Panayiotou, specifically in <em>Two Days After Forever</em> (2015), the Cyprus Pavilion at the 56th Venice Biennale. '<i>Two Days After Forever</i> offer[s] alternative endings,' she writes, 'staging cycles of transformation.'

'Curator Okwui Enwezor has built his career using an inverse technique, scanning the present for signs of a still unsettled past. Alongside the announcement of the theme of his highly-anticipated exhibition...came the tantalizing possibility that we might finally glimpse the curator's vision of what's to come.' Kate Sutton reviews the...