Recalling Venezuela’s “Marchas de Ollas Vacías” (Marches of Empty Pots), in which protesters strike empty pots and pans to denounce food shortages and the economic and political crisis the country faces, Miguel Antonio Horn’s Dissonance channels public outcry in the face of an increasingly bleak reality. Sculptor Horn’s new work at Taller Puertorriqueño probes the boundaries of power and powerlessness, and asks how protest can bring about meaningful social change.