The artist first established a name for herself with CAPS, an imagined world uncannily close to our own, featuring an Atlantic island internment camp, in which teleporting, body swapping and age reversal are the norm and surveillance culture has been taken to the extreme. For her shows this year at the Renaissance Society in Chicago, Nottingham Contemporary and the Power Plant, Toronto, she presented the single- channel Life on the CAPS, the sequel to the 2018–19 eight-channel installation Party on the CAPS, which similarly mixes live action with crocodile-filled CGI. Meanwhile, similarly animated lizards, which featured in 2 Lizards, a series of Instagram shorts that brought her even more fame during the COVID-19 lockdowns, went on show at the Whitney in New York, while beyond the museum walls Bennani had a High Line commission to deal with, installing a 2.7m-high motorised foam sculpture of a tornado on the city’s elevated park.