In her exhibition Simulacra, Alinka Echeverría revisits her project Nicephora, first developed as part of the BMW art residency at the Musée Nicéphore Niépce in 2015. This composite body of work critically addresses issues linked to the representation of women in photography. In Simulacra, Echeverría delves into a model of desire based on domination of otherness in such a way as to demonstrate how images convey illusions. She decentres the white male heritage of the medium to challenge its official narratives—narratives that Echeverría approaches as simulacra, as theorized by French philosopher Jean Baudrillard. Through collages, an immersive video installation, and three-dimensional simulations of vases printed on glass plates, shecreates tension between the ways in which women are objectified by focusing on the exoticized and fetishistic nature of representation.