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(Boston, MA—JULY 10 2024) The Institute of Contemporary Art/Boston (ICA) announced the promotions of two curators, Jeffrey De Blois and Tessa Bachi Haas. De Blois, who first joined the ICA in 2015, assumes the position of Mannion Family Curator, taking on an expanded leadership role in the ICA’s curatorial and exhibition programs. He will also continue to manage the ICA’s publications program. Haas, who joined the curatorial department in 2022 as a fellow, has been promoted to Assistant Curator at the museum, deepening her involvement in the ICA’s exhibition program and educational initiatives. 

“We are so pleased to be able to build the ICA’s curatorial department with these well-deserved promotions,” said Ruth Erickson, the ICA’s Barbara Lee Chief Curator and Director of Curatorial Affairs. “In their time at the ICA, Jeff and Tessa have made invaluable contributions to the museum’s curatorial program, and we are excited to recognize their many talents and support their professional growth.” 

Devoted to working closely with artists and an expert in all things books, De Blois has been part of the curatorial team on more than 30 exhibitions and 10 books at the ICA, successfully realizing some of the museum’s most ambitious projects. He curated the first U.S. solo museum exhibitions of artists Caitlin Keogh, Napoleon Jones-Henderson, and Tammy Nguyen. He has also organized solo shows with artists Rose B. Simpson, Carolina Caycedo, William Kentridge, and Raúl de Nieves, among others. De Blois is currently at work on the first retrospective dedicated to pioneering artist Charles Atlas, opening Oct. 10, 2024, and the first monograph and U.S. solo exhibition of the work of Tau Lewis, opening Aug. 29, 2024.  

Haas begins her new role as Assistant Curator after working with the ICA since 2022, most recently as Curatorial Assistant and previously as Simone Leigh curatorial fellow and Graduate Student Lecturer. Prior to the ICA, she had held curatorial positions at various institutions, including the MIT List Visual Arts Center and the Pennsylvania Academy of Fine Arts. This past year, she co-curated Wu Tsang: Of Whales and supported the presentation of artist Firelei Báez’s first North American museum survey, coordinating its accompanying catalogue and assisting with the exhibition’s tour. Haas brings her expertise in time-based media to her new role. She is presently working on the US premiere of Christian Marclay’s Doors, on view Apr. 17, 2025, and the 2025 James and Audrey Foster Prize exhibition, opening Aug. 21, 2025.  

About the ICA 

Since its founding in 1936, the ICA has shared the pleasures of reflection, inspiration, imagination, and provocation that contemporary art offers with its audiences. A museum at the intersection of contemporary art and civic life, the ICA has advanced a bold vision for amplifying the artist’s voice and expanding the museum’s role as educator, incubator, and convener. Its exhibitions, performances, and educational programs provide access to the breadth and diversity of contemporary art, artists, and the creative process, inviting audiences of all ages and backgrounds to participate in the excitement of new art and ideas. The ICA is located at 25 Harbor Shore Drive, Boston, MA, 02210. For more information, call 617-478-3100. Follow the ICA on Facebook, Instagram, and TikTok. 

Presented in partnership with the ICA/Boston; Mayor’s Office of Arts and Culture, City of Boston; MASS Design Group; and Songha & Company led by artist and creative director Hank Willis Thomas

(Boston, MA—JUNE 11, 2024) This summer, the Institute of Contemporary Art/Boston (ICA) presents The Gun Violence Memorial Project, an exhibition and citywide collaboration between the Mayor’s Office of Arts and Culture, City of Boston; MASS Design Group; Louis D. Brown Peace Institute; Purpose Over Pain; and Songha & Company, a producer of public artworks founded by artist Hank Willis Thomas. From Aug. 29, 2024, to Jan. 20, 2025, The Gun Violence Memorial Project will be on view at the ICA, Boston City Hall, and the MASS Design Group gallery in Boston’s South End (see hours and locations below).  

The Gun Violence Memorial Project creates space to gather and remember in light of the ongoing gun violence crisis. The memorial comprises four glass houses, each built of 700 clear bricks, a reference to the average number of gun deaths every week in the United States in 2019, when the memorial opened. The average number of U.S. weekly gun deaths in 2024 is 840. Many of the bricks hold remembrance objects—baby shoes, graduation tassels, and photographs—offered by families in honor of loved ones whose lives have been taken due to gun violence. These living memorials invite us to view the impact of gun violence through individual personal narratives. 

As Pamela Bosley, co-founder of Purpose Over Pain and mother of Terrell Bosley, a victim of gun violence, said: “You hear those numbers all the time, but you never tie names to them. I wanted you to see who my son was.”  

First launched at the 2019 Chicago Architecture Biennale and exhibited at the National Building Museum in Washington, D.C. The Gun Violence Memorial Project will be on view for the first time in the northeast in Boston. The project was conceived in 2018 by MASS Design Group and Songha & Company, with gun violence prevention organizations Purpose Over Pain and Everytown for Gun Safety. Local collection events will be organized in partnership with the Louis D. Brown Peace Institute to accept new remembrance objects from those who have had loved ones taken by gun violence. These remembrance objects in addition to the families’ stories will be incorporated into the memorial houses on view at the ICA to honor Boston-area victims of the gun violence epidemic.  

“We are honored to host The Gun Violence Memorial Project in Boston and, with our partners across the city, bring together our communities to reflect, remember and respond to the devastating consequences of gun violence,” said Jill Medvedow, Ellen Matilda Poss Director of the ICA. “Hank Willis Thomas and MASS continue to reimagine memorials that offer new ways for thinking about commemoration, memory, history and how art and architecture can connect with our communities and the issues of our times.” 

“The effects of gun violence in our country are not just numbers and statistics, but real, personal stories that the impact of gun violence has had for victims and will continue to have for their families and loved ones,” said Mayor Michelle Wu. “Our hope is for The Gun Violence Memorial Project to create space to reflect on the lasting effects of gun violence and how we as a nation can make changes to prevent this crisis from continuing.” 

“Our goal was to communicate the enormity of the epidemic,” said Jha D. Amazi from MASS Design Group, “while also honoring the individuals whose lives have been taken.” 

“For every murder, there are at least 10 survivors left to mourn,” said Chaplain Clementina Chéry, President and CEO of the Louis D. Brown Peace Institute. “These numbers do not include extended family, friends, classmates, neighbors or coworkers, raising that number by the dozens. As a survivor-led organization, we are proud to honor those who’ve been killed by gun violence and to give voice to the countless survivors impacted by murder, trauma, grief and loss.”

Hours and Locations  

ICA 
Two Gun Violence Memorial Houses will be at the ICA  

TUESDAY 10 AM – 5 PM 
WEDNESDAY 10 AM – 5 PM 
THURSDAY 10 AM – 9 PM 
FRIDAY 10 AM – 9 PM 
SATURDAY 10 AM – 5 PM 
SUNDAY 10 AM – 5 PM 
Closed Mondays 

Boston City Hall 
One Gun Violence Memorial House will be at Boston City Hall  

MONDAY – FRIDAY, 8:30 AM – 5 PM 
Closed on City holidays 

MASS Design Group 
1 Chandler St, Boston MA 02116 
One Gun Violence Memorial Project House will be at MASS’s office    

FRIDAY, 1 PM – 5PM 
Email participate@massdesigngroup.org to schedule visit 

Remembrance Object Collection Events in Boston  
June 26th – 29th and November (Date TBD) 2024 

To allow Greater Boston families and those throughout the Northeast to contribute to the memorial, donation events will be held with information being shared closer to the dates. In partnership with the Louis D. Brown Peace Institute, a multi-day collection event will take place this summer and fall to accept new remembrance objects from those who have had loved ones taken by gun violence. Please visit gunviolencememorialproject.org for more information on Remembrance Object Collection events or email participate@massdesigngroup.org with any specific questions  

The Artist’s Voice: Hank Willis Thomas + Jha D Amazi 
Thursday, October 24, 2024  
FREE admission  
Location: ICA/Boston 

About the ICA     
Since its founding in 1936, the ICA has shared the pleasures of reflection, inspiration, imagination, and provocation that contemporary art offers with its audiences. A museum at the intersection of contemporary art and civic life, the ICA has advanced a bold vision for amplifying the artist’s voice and expanding the museum’s role as educator, incubator, and convener. Its exhibitions, performances, and educational programs provide access to the breadth and diversity of contemporary art, artists, and the creative process, inviting audiences of all ages and backgrounds to participate in the excitement of new art and ideas. The ICA is located at 25 Harbor Shore Drive, Boston, MA, 02210. The Watershed is located at 256 Marginal Street, East Boston, MA 02128. For more information, call 617-478-3100 or visit our website at icaboston.org. Follow the ICA on Facebook, Instagram, and TikTok.  

About MASS Design Group  
MASS Design Group is an architecture and design collective that researches, builds, and advocates for architecture that promotes justice and human dignity. They have worked in over 20 countries, with 30 projects built or in construction. MASS brings inclusive design processes and invests in community empowerment, helping partners advance their mission through the built environment. Their project, the National Memorial for Peace and Justice in Montgomery, Alabama, was recently called “the single greatest work of American architecture of the twenty-first century.” 

About Songha & Company 
Songha & Company is a producer of public artworks. By and through its founder, artist Hank Willis Thomas, Songha & Company practices in the area of conceptual public art by working primarily with themes related to perspective, identity, commodity, media, and popular culture. The company was named after Thomas’ cousin, Songha Thomas Willis, who was a victim of gun violence on February 2, 2000.  

About Purpose Over Pain 
Purpose Over Pain was formed in 2007 by several Chicago area parents whose children’s lives were taken by gun violence. They advocate for safer communities, strengthen families by providing crisis support to parents/guardians whose children have been victims of gun violence and provide positive development activities for children and youth. 

About the Mayor’s Office of Arts and Culture, City of Boston  
The Mayor’s Office of Arts and Culture is a City agency that enhances the quality of life, the economy, and the design of the City through the arts. The role of the arts in all aspects of life in Boston is reinforced through equitable access to arts and culture in every community, its public institutions, and public places. Key areas of work include support to the cultural sector through grants and programs, support of cultural facilities and artist workspace, as well as the commissioning, review, and care of art in public places. Learn more at www.boston.gov/arts. 

Media Contacts
ICA: Theresa Romualdez, press@icaboston.org 
MASS Design Group: Amber Lacroix, alacroix@mass-group.org 
City of Boston: Morgan Clark, morgan.clark@boston.gov 

(Boston, MA—JUNE 5, 2024) On Aug. 29, the Institute of Contemporary Art/Boston (ICA) opens Tau Lewis: Spirit Level, the artist’s first solo museum presentation in the United States. For the ICA, Lewis (b. 1993, Toronto) is creating a new body of work that will be accompanied by her first monograph. On view from Aug. 29, 2024, to Jan. 26, 2025, the exhibition is organized by Jeffrey De Blois, ICA Mannion Family Curator, with Max Gruber, Curatorial Assistant. 

Lewis transforms found materials into fabric-based figurative sculptures, quilts, masks, and other assemblages through labor-intensive processes such as hand-sewing and carving. She forages for objects and materials that carry meaning and memories—from previously worn clothing and leather to driftwood and seashells. Often, these artifacts are drawn from a meticulously organized material library the artist has amassed since 2000 collected from innumerable places. The evocative objects Lewis gathers and transforms carry their own spirit and energy and connect her work to the social, cultural, and physical landscapes that she moves through, collects from, and inhabits. Lewis describes these different landscapes as “Black geographies.” These geographies—oceanic, terrestrial, extraterrestrial—are the areas where Lewis’s otherworldly beings live.  

“Lewis harnesses the beauty and power carried by found materials in her monumental soft sculptures,” said De Blois. “Her sculptures are alive with the energy of previously worn found fabrics and animated through every meticulous gesture. They are intensely personal, yet open to a world of associations and meanings.” 

Lewis’s upcycling relates to forms of material inventiveness practiced by Afro-diasporic communities. For the artist, working with things close at hand is a reparative act aimed at reclaiming agency. Her works circumnavigate a broad range of references, from the mythic underwater civilization of Drexciya, to forms of material inventiveness practiced by artists such as Thorton Dial, Lonnie Holley, and the quilters from Gee’s Bend Alabama. Throughout, Lewis’s interest is in advancing the diasporic traditions and exploring the transformation and rebirth of materials that occurs when an object is made by hand.  

For the ICA, Lewis is creating a new, interrelated body of sculptures including a large floor-bound quilt and five monumental figurative sculptures. The patchwork quilt is pieced together with a series of repeating panels the artist refers to as sequences radiating out from the center, where a miniature architectural form made from found metal components and a starfish is located. Each repeating sequence is composed of a set of found objects from the artist’s material library that recall kingdom-like organizations of the universe: animals, planets, satellites, weapons, aliens, and more. Intricately detailed in its configuration, and a whole world unto itself, the quilt evokes the idea of a portal or a galactic landscape; a cosmological ecosystem where struggles for power are playing out. The quilt is surrounded by five statuesque, fabric-based sculptures, each approximately 10 feet in height, adorned with hand-sewn, cloak-like garments and holding unique gestural hand poses. Their garments are pieced together with a makeshift aesthetic from found fabrics—ranging from muslin scraps dyed with tea or rust to deconstructed leather jackets and parachutes—while the figures themselves are by turns oceanic and extraterrestrial in appearance. Holding space in the exhibition, the figures congregate together as onlookers towering over the quilt.    

Artist Biography 
Born in 1993 in Toronto, Tau Lewis lives and works in New York. Her work has been exhibited internationally, at venues including the Barbican, London; Institute of Contemporary Art, Miami; Lafayette Anticipations, Paris; ICA/Boston; National Gallery of Canada, Ottawa; Hammer Museum, Los Angeles; The Hepworth Wakefield, London; MoMA PS1, New York; the Art Gallery of York University, Toronto; and New Museum, New York. Her work has been included in major international group exhibitions including The Milk of Dreams, the 59th Biennale di Venezia, and Yesterday we said tomorrow, Prospect.5, New Orleans. Lewis’s work is held in several permanent collections, including Grinnell College Museum of Art, Iowa; Hammer Museum, Los Angeles; Institute of Contemporary Art, Miami; The Montreal Museum of Fine Arts; National Gallery of Canada, Ottawa, Ontario; and San Francisco Museum of Modern Art.  

Publication 
The exhibition will be accompanied by the artist’s first monograph featuring an essay from the exhibition’s curator, Jeffrey De Blois, and a conversation between Tau Lewis and Lonnie Holley, renowned artist, musician, and long-time mentor to Lewis.  

About the ICA  
Since its founding in 1936, the ICA has shared the pleasures of reflection, inspiration, imagination, and provocation that contemporary art offers with its audiences. A museum at the intersection of contemporary art and civic life, the ICA has advanced a bold vision for amplifying the artist’s voice and expanding the museum’s role as educator, incubator, and convener. Its exhibitions, performances, and educational programs provide access to the breadth and diversity of contemporary art, artists, and the creative process, inviting audiences of all ages and backgrounds to participate in the excitement of new art and ideas. The ICA is located at 25 Harbor Shore Drive, Boston, MA, 02210. The Watershed is located at 256 Marginal Street, East Boston, MA 02128. For more information, call 617-478-3100 or visit our website at icaboston.org. Follow the ICA on Facebook, Instagram, and TikTok.  

Media Contact  
Theresa Romualdez, press@icaboston.org   

Credits  
Organized by Jeffrey De Blois, ICA Mannion Family Curator, with Max Gruber, Curatorial Assistant. 

This exhibition is supported by The Coby Foundation, Ltd., Mathieu O. Gaulin, Girlfriend Fund, Robert Nagle and Katherine Hein, Kim Sinatra, the Jennifer Epstein Fund for Women Artists, and Miko McGinty.  

Opening Oct. 10, the exhibition brings together more than 125 films and videos for an immersive “walk-through experience.”

(Boston, MA—MAY 9, 2024) In October 2024, the Institute of Contemporary Art/Boston (ICA) presents Charles Atlas: About Time, the first U.S. museum survey of pioneering interdisciplinary artist Charles Atlas (b. 1949 in St. Louis). The retrospective exhibition presents work created over 50 years, including a new sculptural video installation on view for the first time. It brings together key components of more than 125 films and videos in monumental and immersive multichannel video installations the artist describes as “walk-through experiences.” Encompassing themes of performance and portraiture, gender and sexuality, and collaboration and friendship, Charles Atlas: About Time is oriented around the artist’s groundbreaking work at the intersections of moving image, dance, and performance, and his intimate video portraits of close collaborators and friends. The exhibition is accompanied by a lushly illustrated catalogue featuring significant new scholarship on Atlas’s practice and co-published by the ICA and DelMonico Books. On view from Oct. 10, 2024 to Mar. 16, 2025, Charles Atlas: About Time is organized by Jeffrey De Blois, the ICA’s Mannion Family Curator, with Max Gruber, ICA Curatorial Assistant. 

“Charles Atlas originated the genre of ‘media-dance’ while working as filmmaker-in-residence at Merce Cunningham Dance Company in the 1970s and early 80s. This retrospective exhibition offers visitors an important and long overdue immersion into Atlas’s unparalleled and highly influential legacy in film and video art,” said Jill Medvedow, Ellen Matilda Poss Director. 

“Charles Atlas: About Time is a historically significant retrospective, displaying the breadth of Atlas’s work through room-filling installations that collapse time within their structures and showcase the full scope of Atlas’s creative powers,” said De Blois. “Featuring ‘exploded views’ of the artist’s genre-defying works, this presentation reveals Atlas’s unique negotiation of time as a medium throughout his storied, 50-year career.” 

Atlas’s early career is defined by his time as filmmaker-in-residence at the Merce Cunningham Dance Company in New York. There, he followed the circle of artists with whom Cunningham collaborated closely, including John Cage, Jasper Johns, Robert Rauschenberg, and others. Atlas and Cunningham pioneered the genre of “media-dance”—dance made for the camera, rather than an in-person audience—through a series of video collaborations of successive complexity. Following his time at the company, his works increasingly featured overt expressions of sexuality, especially gay and queer sexuality, and notions of gender that move well beyond constrictive binaries. Likewise, Atlas goes on to value every form of performance equally, from modern dance made for the stage, to drag shows in underground clubs, to today’s viral dance videos made for TikTok. 

Beginning around the time of friend and collaborator Merce Cunningham’s death in 2009, Atlas, an artist who always looked unflinchingly forward to the next project, began to look back at his vast archive of video to create new and increasingly personal works. Through this retrospective approach, Atlas creates “exploded views” of his earlier single-channel videos. Footage from one video is displayed in new spatial configurations on multiple screens and monitors, split into fragments, and edited together for dramatic effect as a “walk-through experience.” These installations are choreographed in space in a way that approximates the movements of the performers on-screen, inspiring visitors to move fluidly between and among them. The works reveal Atlas’s astute sense of architectural space—informed by his time working for the Merce Cunningham Dance Company. 

Charles Atlas: About Time traces a non-linear arc of the artist’s practice from the early 1970s to the present, featuring works that highlight key moments from Atlas’s prodigious career, starting with his sculptural video installation, The Years (2018). In The Years, the artist imagines a stand-alone retrospective comprising 77 videos and films laid out across four flat-screen monitors that are displayed upright, like gravestones. On each screen, short excerpts of earlier works—organized into 12-year periods—scroll like the ending credits of a film. These include moments from the small, personal film Cartridge Lengths and Long Shots (1970); Son of Sam and Delilah (1991), which the artist describes as an emotional response to the AIDS crisis; Mrs. Peanut Visits New York (1992–99), which features famed performance artist, fashion designer, and nightlife icon Leigh Bowery; and What Does Unstable Time Even Mean (2015), a media-dance choreographed by Rashaun Mitchell and Silas Reiner. Projected behind the gravestone-like monitors is a group of four expressionless young people staring unmoved into the distance. Farther behind them is a projection showing a starry night sky, as if the sun had already set. This heightens the theatricality of The Years, in which Atlas wonders openly what his work will mean to subsequent generations. 

Since leaving the company in 1983, Atlas has been a leading figure in film and video art, and one of the preeminent artists to capture dance and performance on camera through groundbreaking collaborations with Michael Clark, Yvonne Rainer, Leigh Bowery, Marina Abramović, Rashaun Mitchell, and Silas Reiner, among others. Much of Atlas’s genre-defying, collaborative work has proved prescient for a generation of artists working today. Contemporary concerns such as the creative possibilities of performance and portraiture on camera and the political urgency of challenging commonly held conventions of gender, sexuality, and queer identity have been at the heart of Atlas’s creative output for decades. 

Of her time working with Charles Atlas, Abramović said, “Putting together his over-the-top spirit of plenty and my minimalism, we brought to life three collaborative works: SSS, The Biography, and Delusional. Looking back, I can see now how this collaboration pushed me into a new dimension, liberating me from my own limitations and fears. Charles Atlas is a true original and innovator, helping us to see the world around us in a new way through his work.” 

Collaboration has been central to Atlas’s practice and his work. MC⁹ (2012) commemorates the artist’s long-term collaboration and friendship with choreographer Merce Cunningham. Created following Cunningham’s death in 2009, MC⁹ combines large-scale projection screens and sculpturally positioned monitors in a complex arrangement of newly edited material from Atlas’s work with Cunningham. The installation encompasses fragments of 21 videos from their 40-year collaboration, from Walkaround Time, Atlas’s first proper film documenting a performance in 1973, through Ocean, completed in 2010. Also included is footage of a gray-haired Cunningham dancing to house music around a ballet barre, his final filmed dance piece captured by Atlas. The monumental scale of MC⁹ in many ways conveys the scale of the artists’ creative partnership.  

Taking an approach similar to MC⁹, A Prune Twin (2020) adapts fragments of Hail the New Puritan (1986) alongside elements from Because We Must (1989), riffing on two iconic works in Atlas’s long-term collaboration with Michael Clark. One of Atlas’s most well-known works, Hail the New Puritan revolves around the anarchic energy of Clark’s countercultural milieu in mid-1980s London. The film—which Atlas refers to as an “anti-documentary”—purports to show a typical day in the life of Clark in Thatcherite London, albeit one that is highly stylized and fictionalized. Made two years after Hail the New Puritan, Because We Must was based on an original stage production at Sadler’s Wells Theatre in London, whose formal theatricality is counterbalanced by a behind-the-scenes narrative fantasy featuring Leigh Bowery’s extravagant costumes and production design. In 2020, Atlas created A Prune Twin—an anagram of New Puritan. This transposition of letters from the original phrase to coin the new title is analogous to the transposition of fragments from Atlas’s older works to imagine something entirely new. The baroque aesthetic captured on screen is perfectly complemented by a sense of irony that reflects the spirit and specificities of queer cultures in the 1980s and is now matched by the almost over-the-top sense of excess that this newly imagined installation brings to life.  

Charles Atlas: About Time also features The Tyranny of Consciousness (2017), a work that marries a montage of sunsets Atlas filmed at the Rauschenberg Residency on Captiva Island in Florida with a monologue by iconic drag performer Lady Bunny about the flowering of her political consciousness. In The Tyranny of Consciousness, Atlas synthesizes the social urgency and political consciousness of his portrait of Lady Bunny with the geometric patterns and repeated numerical sequences of his “number pieces”, uniquely tying together his overarching artistic concerns across decades to transformative effect. One of the numbers pieces, Plato’s Alley (2008), is a site-specific video installation and architectural intervention that will be displayed alongside documentation of other site-specific works.  

Finally, the exhibition will premiere a new multichannel sculptural video installation, a collage of portraits featuring musicians Sonic Youth, artist Marina Abramović, director John Waters, and choreographer Yvonne Rainer, among others. This collage of portraits conveys the extent to which collaboration and friendship have always been at the heart of Atlas’s decades-long practice. 

Publication 
The exhibition is accompanied by a generous and lushly illustrated catalogue that generates significant new scholarship on Atlas’s practice, framed by the exhibition’s key themes and artworks. It features commissioned essays by leading scholars, historians, and writers discussing Atlas’s groundbreaking work and legacy: Erika Balsom, Joshua Chambers-Letson, Drew Sawyer, and Jeffrey De Blois, the exhibition’s curator. The catalogue also foregrounds the voices of a diverse group of artists reflecting on Atlas’s influence, including Nicole Eisenman, Eileen Myles, Jordan Strafer, Martine Syms, and Ryan Trecartin.  

About the ICA 
Since its founding in 1936, the ICA has shared the pleasures of reflection, inspiration, imagination, and provocation that contemporary art offers with its audiences. A museum at the intersection of contemporary art and civic life, the ICA has advanced a bold vision for amplifying the artist’s voice and expanding the museum’s role as educator, incubator, and convener. Its exhibitions, performances, and educational programs provide access to the breadth and diversity of contemporary art, artists, and the creative process, inviting audiences of all ages and backgrounds to participate in the excitement of new art and ideas. The ICA is located at 25 Harbor Shore Drive, Boston, MA, 02210. The Watershed is located at 256 Marginal Street, East Boston, MA 02128. For more information, call 617-478-3100 or visit our website at icaboston.org. Follow the ICA on Facebook, Instagram, and TikTok. 

Media Contact
Theresa Romualdez, press@icaboston.org 

Credits 
Charles Atlas: About Time is organized by Jeffrey De Blois, Mannion Family Curator, with Max Gruber, Curatorial Assistant.  

With warmest thanks, we gratefully acknowledge the generosity of the ICA’s Avant Guardian Society in making this exhibition possible.