Pioneering ecologist, science communicator, and marine biologist Rachel Carson found the rhythms of the ocean to be largely indifferent to the rhythms of humans. Coastal forms, she observed, merge and blend in variegated patterns with the ancient surf and with new life, ultimately with the sole agenda of the “earth becoming fluid as the sea itself.” Los Angeles–based artist David Horvitz’s solo exhibition at Belo Campo, a nonprofit space hosted by Galeria Francisco Fino in Lisbon, borrows its title from this ever-emerging movement as well as from Clarice Lispector’s 1973 novel Água Viva [Living Water]. Horvitz, like Carson, found in the compelling motion of large bodies of water the motivation to consider the passage of time, ignoring boundaries between identities, legal demarcations, and online or offline realities. Carson, whose work on the sea greatly inspired Horvitz—see Rachel Carson is My Hero (2016), his outdoor billboard near the bridge named after her in Pittsburgh—is quoted by the artist in his exhibition statement: “each of us carries in our veins a salty stream in which the elements sodium, potassium, and calcium are combined in almost the same proportions as in sea water. This is our inheritance from the day, untold millions of …