Kim translates sound into something you can see. Her work is funny, sharp, and political in the best way—turning the rules of communication inside out.

Walker’s imagination is razor-sharp and devastating. She unspools American myth through paper, metal, and motion—beauty as a weapon, history as a haunting.

Tacita Dean’s Landscape is a meditation on place, time, and observation, bringing together film and drawing to slow the act of looking and reframe the natural world as something quietly monumental.

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.

In Timelapse, Sarah Sze constructs a world in motion—where images, objects, and sound collide in constantly shifting relationships. The exhibition captures time as fragmented and layered, reflecting how meaning is built through accumulation and attention.

Tania Pérez Córdova’s Generalization intertwines absence and presence through objects that carry traces of time, touch, and narrative. Each sculpture suggests a story—what was once there and what remains.

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.

Liz Larner’s Don’t Put It Back Like It Was reconsiders sculptural form through gesture, gravity, and time. Known for reimagining materials from clay to stainless steel, Larner transforms the familiar into meditations on tension and repair.

Mehretu’s paintings are storms—fast, dense, and electric. You can feel the motion and the meaning all tangled together, like cities seen from memory.

Owens paints like she’s in on the joke—and maybe writing the punchline. Every canvas is part chaos, part genius, and completely alive.

Leslie Hewitt in collaboration with Bradford Young, Stills, 2016, installation view, Collective Stance, SculptureCenter, 2016. Three synchronized video projections

Leonard looks slowly and asks us to do the same. Her photographs linger on the edges of things—borders, seams, the places where one story touches another.