Transits refers to the entrance or exit of many conscious sensory activities from life’s start, to its end. Patricia Fernández explores the cycle of the sensory organs, development, transition, and decline, to reorganize and assemble linked personal narratives in her work. Following Heartbeats at Commonwealth and Council (2021), which embodies the abstract sense of vision the artist has come to recognize from the uncertainty that arises from isolation, Transits focuses on the processes of physical change and psychological development experienced during the same period. Fernández, who lives and works in Los Angeles, gave birth to her first child in February. During her ten-month pregnancy, the artist spent most of her time in the Mojave Desert, due to the severe pandemic. While alone in the vastness of nature, she researched and archived materials relevant to the changes she observed in her body. The wheel shape appearing in Visualization for Dilation 1-10 (2021) references an instructional tool on cervical dilation used by midwives. Simultaneously occurring in this series are such phenomena as microchimerism, or the exchange of cells between fetus and mother; diagrams for ocular and tactile stimulation; and the phases of the moon. The red linen used in the paintings is dyed with cochineal collected by the artist. Representing ten months, they are paired with ten round walnut discs engraved with the symbol “x.” The "x" pattern seen throughout Fernández's sculptures signifies the connection between generations through the conveyance of history and symbolizes the relationship of the past and the future. In Transits, the artist presents five sculptures reminiscent of children's tactile play toys, as in Horizontal Hand-Eye (2021) and Vertical Hand/Eye (2021). These works visualize a device that reflects perception through touch, such as in the case of her grandfather, who is losing sight as he enters the latter stages of his life. The development of vision and touch in newborns is similar to that of senile sensory degeneration. Patricia Fernández abstractly lists the connections between birth and death, what is felt first and last. Merleau-Ponty writes, “Time is, therefore, not a real process, not an actual succession that I am content to record. It arises from my relation to things.”