On September 26, the Santa Fe-based artist Cannupa Hanska Luger unveiled a new site-specific installation inside one of Curacao's oldest natural chambers, a limestone cave known as Kueba di Indjan. The cave, estimated to be around five million years old, is also known locally as Kueba di Brua, or Voodoo Cave, and carries stories of Indigenous ritual use. Inside it, Luger placed an installation built from clay, rope, and sound, designed to dissolve back into the ground that produced it. At the heart of the work is a set of clay whistles made during three workshops Luger hosted in the week before the unveiling. He hung them in hand-woven ropes cradling a spot where sunlight slips through the cave's surface. The whistles were left unfired, so that over time they will soften and return to the earth rather than endure as permanent objects. On the day the piece was presented to the public, Luger's son activated it with an ambient composition written for the cave, while bats flew past the gathered audience as if joining the performance. Luger, who is a citizen of the Three Affiliated Tribes of Fort Berthold and of Mandan, Hidatsa, Arikara, and Lakota heritage, has long worked with clay and sound as carriers of memory. The cave piece extends that practice into a living geological setting, using the whistle, one of the oldest known ceramic instruments, as a bridge between deep time and the present. The setting matters as much as the objects: stalagmites and stalactites frame a space that predates human history by millions of years. The installation was created for the second edition of Uncommissioned, an experimental public art program organized by the Novo Collective, which brought six new public artworks to Curacao. Alongside Luger's cave work, the program included stained glass by local artist and organizer Avantia Damberg, a performance, an environmentally integrated sculpture, and a desert installation by Nash Caldera, Giovanni Abath, and Ailsa Anastatia.