Maps “criticality” and decay across cosmological, geological, biomedical, and geopolitical registers to show how nuclear processes bind life to entropy, temporality, and managed risk. Through a montage of isotopes, infrastructures, and scandals, it critiques technoscientific modernity and colonial power as regimes of extraction and time-management that aestheticize, normalize, and weaponize radiation while redefining the Anthropocene’s historical threshold.

Museums are recast as porous infrastructures within “planetary civil war,” where history becomes an active, privatized weapon—stasis as both civil conflict and immobility—looping the past into the present through militarized monuments, digital surveillance, and proxy logistics. Against bunker-like freeports and overprotected “Arcs of Art” that conserve objects by withdrawing public access, the text argues for an exit from repetition via commissioning new work and re-making public space: conservation as future-making, a shift from reenactment to rule-inventing play that breaks the time-loop.