As long as we can imagine it examines how an individual's emotions might intertwine with acts of societal resistance. Regn Evu shows sculpture and video work around the viscerality, messiness, and wonder within the new types of masculinity that trans-men and non-binary people are creating. Evu’s work examines what it means to have one’s body change on testosterone.The body of work shifts between introspection and dialogue with their non-binary and transmasculine peers. They place as much care in their examination of the changes in sweat, genitals, and emotions, as they do into their scrutiny of their changing relationships with friends, partners, and Icelandic society. Their body of work is playful, colorful, and hopeful. It acts in contrast to the recently released statistic that one out of every 5 Icelandic boys dislike (hate?) trans people. In opposition to the softness of Evu’s work, Kaisa Lukkonen’s work is characterized by a sharp, delicate ferocity. Lukkonen’s works, sculptures and an audio installation, examine the political agency of anger. The glass objects scattered through the space are replications of tools used in protests and uprisings between the years 2018 and 2024. The sound installation is an echo of the songs and sounds that have shaped movements around the world. Her work reflects a possible future and parallel history where the pain and anger of each object has crystallized the mundane tools into storied, exquisite, preserved sculptures.As long as we can imagine it is both a record of those who move against dominant narratives, and a story of what worlds might be woven out of these threads of resistance.