In Sand Machine, colourful beads hanging from rotating bamboo canes trace endless furrows into sand. For Medalla, the work imagines a future when solar-powered technology can 'help irrigate the world's deserts'. Deeply aware of the uses and effects of science and industrialisation, particularly for indigenous communities in the Global South, Medalla sought to imagine how technology might help us be in good relation with each other and our environment.

This sculpture is another of Medalla's many 'cosmic propulsions', which he dreamt would expand what sculpture could be or do. Often unrealised, these included smoke and mud machines, rooms planted with millions of edible mushrooms, and sound pieces produced by the movements of snails.

A Stitch in Time invites its audience to stitch words, objects, and mementos to a large hanging cloth. Medalla has said that the work was inspired by his giving handkerchiefs to his lovers on their journeys across the globe, embroidered with his name and a short message. Each iteration of the work is uniquely produced by its participants, who dedicate a moment of creative focus to contribute to the work's form. It shares with many of Medalla's other participatory works an invitation for its participants to discover their capacity as artists.

This painting is part of a series showing the escapades of a puckish and violent character, the eponymous boy. Looking through the wooden frames, the viewer becomes a voyeur. To the left, the boy appears to be wrangling with another (female?) figure; to the right, the boy's head rests on the thigh of a nude female body. There is ambiguity to these scenes in the play between desire and danger, in the contrast between the delicate, colourful miniature paintings and the violence they seem to depict. In the context of economic crisis and social fracture in Britain, Medalla claimed that with this series he wanted the social and cultural conditions that produced 'English boys' – their 'speech, body language … sexual fantasies, [and] rituals'.

In this painting, the artist's dreams and desires take centre stage. In the middle of the work, Medalla stands, arms outstretched, saying, 'I see the time that will come'. Behind him, people from across the world overturn a railway track, based on a photograph of Chinese workers upending a track used by Japanese invaders in WW2. Fossils, archaeological fragments and different scripts are scattered around the painting, encompassing past and future and revolutionary moments across the world. The work is based on Medalla's interactions with migrant labourers in Paris on Bastille Day. It captures his vision for a future of communication, solidarity and liberation for workers globally.