Through clay and care, Reverend Joyce McDonald transforms pain into hope — her small sculptures evoke rest, resilience, and repair, breathing tenderness and power into every gesture.

In Seed, Rose B. Simpson presents sculpture as an act of inheritance—objects shaped by lineage, land, and the passage of time. The work moves between monument and offering, holding space for growth, memory, and the quiet persistence of Indigenous knowledge.

Babirye’s sculptures are proud, loud, and full of soul. Made from discarded materials, they become royal—queer monumentality at its finest.

Tracing Terruño presents Muriel Hasbún’s deeply personal photographic exploration of memory, displacement, and belonging. Through layered images that move between archive and lived experience, Hasbún traces the emotional and political terrain of exile, family history, and Central American identity.

Humane Ecology: Eight Positions brings together eight artists exploring the complex relationship between humans and the natural world. Through sculpture, video, installation, and living materials, the exhibition reveals how ecological systems intersect with memory, migration, and identity.

In Across the Universe, Tomashi Jackson brings together abstraction, history, and political urgency, layering color, text, and material to explore how power circulates through public space, education, and collective memory.

Black Atlantic brings together five artists whose works speak to the histories, migrations, and material cultures shaped by the African diaspora. Installed along Brooklyn Bridge Park’s waterfront, the exhibition reimagines public space as a site of resilience and reclamation—where sculpture, form, and narrative move fluidly between land and sea, past and present.

Hard Cover brings together six artists—Rose B. Simpson, Jane Irish, Sharon Hayes, Howardena Pindell, Judith Scott, and Wilmer Wilson IV—whose work explores protection, exposure, and the narratives we hide or reveal through material. Across fiber, film, clay, and collage, each artist opens a conversation on the physical and psychological covers we build to survive.

In I’m, Deborah Roberts confronts the narratives that shape Black childhood and identity through layered collage and portraiture. Her figures—composed from fragments of media, history, and imagination—stand powerful, vulnerable, and wholly human.

Njideka Akunyili Crosby layers Nigeria and America in the same image—collage and transfer meet painting to map diasporic identity with intimacy and complexity.