Mother’s Wreckage tracks my intense affective responses to artworks that depict a fractured mother-daughter bond, revealing how my body enters a relationship with the art and its surrounding environment. By emphasizing bodily knowledge rather than a politics of representation or signification, I demonstrate how visual art enables the expansion of subjectivity. I draw on Jack Halberstam’s theory of shadow feminisms to examine how works by Chantal Joffe, Mina Loy, Vessna Perunovich and Christiane Pflug complicate, and productively unsettle the idea of an “antisocial mother.” Responding to Lette Bragg’s call in The Ruins of Solitude (2024), to yield to interruption, I surrender to my body’s overwhelm, distress, and discomfort in relation to the artwork. Through experimentation, I question the act of viewership to expose its full potential. Whether visiting the shoreline with an exhibition catalogue, leaning over a ten-foot-long sheet of paper to reproduce a painting, viewing a part of an installation in the privacy of my home, or entering the vault to encounter a work in storage, I push the relationship between my body and the art to its limits. Finally, I move from wreckage toward possibility, insisting on decay and collapse, not as opportunities for rebuilding, but as conditions through which to confront the instability of the self within an incoherent world.