In Jucar Raquepo’s Reversed Futurism (Or the Map Precedes the Territory), the artist’s paintings somehow create a delectably warped vision board replete with disjointed images and skillful renderings of old street photographs, circus freakshow flyers, 50s ads and images of icons of realities spliced together. Set in collage-like arrangements, Raquepo’s fragmented renderings bring to mind Jean Baudrillard’s The Precession of Simulacra and concrete illustrations of simulation. What might be surprising at a closer look, however, is that the appearance of a collage does not, in reality, offer what we expect: we see not decoupaged layers and cutouts, but mimetic paintings straight from the artist’s brush.