I have to confess, I did not recognize them at initial. They mix seamlessly as shadows into the bright crimson petunias and purple coleus on the lawn of the New York Botanical Garden’s Enid A. Haupt Conservatory. Only when I stooped to read the label for just one velvety red blossom — it was a cockscomb, Celosia “Dracula” — did I recognize the knee-substantial, forged-foam black vulture that was sitting down watchfully beside it. When I looked up, I realized there had been dozens far more. The gardens had been total of them.

They were mounted by the Jamaican-born mixed media artist Ebony G. Patterson for her clearly show, “ … points come to prosper … in the shedding … in the molting.” The fruits of her intermittent but yearslong residency at the Garden and its library, the exhibition also incorporates get the job done installed throughout many flooring of the Garden’s library — but it’s the vultures that cut the deepest.

They appear in four kinds — standing, turning, searching and jutting forward — and what a rigorous accounting would contact several diverse hues.

They all browse as additional or less black, specifically when viewed in teams. But layers of glitter, whitish stains and their exact siting amid the floral light and shadow give every single a subtly unique chromatic influence. Some could pass for charcoal gray, just one has a gaudy, unmistakably purple again. At the exact time they continue being variations on a style, gracefully lending compound and depth to the bouquets they stand between, even as they constitute their individual different earth.

Patterson, 42, who lives and operates involving Kingston, Jamaica, and Chicago, has taught and exhibited extensively in the United States. In the wall labels and exhibition elements, she raises the idea of gardens generally as places of therapeutic and regeneration — but also as web sites marked by the legacies of slavery and colonialism, both of those in the vegetation that have been taken out from their indigenous habitats and in the labor linked with them. She also talks about vultures as caretakers, indispensable pieces of a organic environment that consists of demise, decay and extinction. (We really don’t usually feel about scavengers, but after we’re primed to notice them, they are almost everywhere.)

Outside the Conservatory, all these thoughts make for a startling perception of expansiveness. Regardless of whether standing by itself or in bustling groups of up to 30, as although engaged in contentious discussion, the vultures seem to inhabit areas you wouldn’t have found. They draw your own gaze down, far too, forcing you to consider the flower beds not just as careful symphonies of condition and shade but as riotous crowds of individuals.

Inside the Conservatory, exactly where Patterson has also put in forged-glass leaves and body parts, the mood turns chillier. Dismembered toes sticking out about potted petunias evoke slavery and colonial violence. Ghostly white plant forms modeled on extinct species may possibly refer to race, or to climate catastrophe, or to the insatiable emptiness of our info age.

Having said that you examine the particulars, even though, the triumph of the piece is the way that Patterson’s artwork boosts the botanical displays. A show of petunias and begonias this sort of as you might buy at Property Depot — the kind of tropical vegetation created obtainable in New York by cargo planes and capitalism — gains historical context, or moral grounding, from the addition of Patterson’s misplaced species and glass feet. You’re forced to believe about the larger forces that make botanical gardens doable. But the addition of colors and textures also can make the flowers even prettier. (As Patterson herself put it in her remarks at the show’s opening, “Even in the ugliness, beauty is probable.”)

Patterson’s very low-crucial but thoughtful method to the assets of the establishment continues in the LuEsther T. Mertz Library. A three-channel video portrait of a primordial yard and intricate paper collages alternate with an historical exhibition from the selection on extinction, such as a amount of dried specimens. Upcoming to Patterson’s installations and collages, the historical content simply cannot support looking colorless. But that only provides a persuasive undertone of tragedy.

On the top rated ground stands the strongest single piece in the library, “ … fester…,” a free-standing 10-foot wall covered on just one side by thick folds of tapestry studded with tassels, beads, more glass plant varieties and a line of gilded plastic vertebrae, and on the other with hundreds of purple gloves. In blend with tropical patterned wallpaper and vultures perching by the ceiling, “ … fester … ” alludes to luxurious and decay, excess and constraint, splendor and ugliness, but majestically refuses to pin any of it down.

That reported, it does not seem to be very correct to parse the show’s pieces one particular by 1 it’s as a full set up — Patterson’s advanced but singular reaction to the New York Botanical Yard as she uncovered it — that it is most thriving.

… items arrive to prosper … in the shedding … in the molting …

Through Sept. 17, New York Botanical Back garden, 2900 Southern Boulevard, Bronx, N.Y., 718-817-8700 nybg.org.