Probably Just the Wind is not merely a survey of art and death; nor, is it a morbid fascination or fetishization of the loss of life. It is an attempt to reconcile such attitudes within a society and culture that has yet to fully come to terms with the ways in which it, or rather we, are, in fact, collaborators, accomplices, witnesses, victims, and ritual participants in a faded rainbow of thanatological expressions.

Jill Magid is participating with “The Salem Diamonds” (2006), a proposal to transform into diamonds the unclaimed, cremated remains of 3,489 patients confined to the Oregon State Hospital, (formerly Oregon's Hospital for the Insane) from the 1880s to the mid-1970s. Oregon State Hospital is an institution for people that were committed both voluntarily and involuntarily.

Magid is also presenting “Tender (detail)” (2020): “Tender” is a wide-scale, nearly invisible, public artwork commissioned by Creative Time, which consists of 120,000 newly-minted 2020 pennies edge-engraved with the phrase, “THE BODY WAS ALREADY SO FRAGILE” and entered into the U.S. economy through the bodegas of New York during the pandemic.