get tickets

Advance tickets are now available for visits through September 1. Book now

An Indigenous Present celebrates an increasingly visible and expanding field of Indigenous contemporary art. Co-curated by artist Jeffrey Gibson (member of the Mississippi Band of Choctaw Indians and of Cherokee descent) and independent curator Jenelle Porter, this exhibition emerges from their 2023 landmark publication of the same name. Drawing upon the co-curators’ research and the book’s broad range of concepts and forms, the exhibition focuses on the development of abstraction among a group of artists who utilize its multivalent modes to consolidate Indigenous concepts, make experimental process- and materials-based objects, and innovate formal specificity alongside community and custom.

From early breakthroughs to mature formal experiments, How High the Moon is the first retrospective to trace the evolution of Stanley Whitney’s wholly unique and powerful abstractions over the course of his 50-year career. The exhibition’s title is inspired by the 1940 song penned by Nancy Hamilton and Morgan Lewis, which became a jazz standard that has conveyed enchantment, longing, and, in some interpretations, has reached for the sublime. 

Since he began making them in 2002, Whitney’s square-format, loosely gridded abstract canvases have increasingly captured the imagination of viewers. Each contains four horizontal rows of alternately askant and ordered squares painted in varying degrees of opacity. While Whitney’s format has remained consistent over the past twenty years, no painting is the same as another. As he builds these immersive abstractions, Whitney holds space for his viewers to focus not on each painting’s subject, but rather on our own response to color. 

How High the Moon features extensive installations of the artist’s improvisatory small paintings; his drawings and prints, which constitute their own important practice for Whitney; and a chronological selection of the artist’s sketchbooks spanning from 1987 to 2021, which offer a view into Whitney’s engagement with the written word as well as politics. Throughout, his work is put in the context of his diverse sources of inspiration, which include music, poetry, American quilts, and the history of art and architecture, among many others. 

Whitney’s powerful, color-saturated abstractions give viewers the space to feel what it means to be human, to mentally wander, and to gather the strength to survive. This touring retrospective, the first survey of Whitney’s work ever assembled, demonstrates the true height of his achievement. 

Charles Atlas: About Time is the first U.S. museum survey of the pioneering interdisciplinary artist Charles Atlas (b. 1949 in St. Louis). Spanning 50 years of work, this retrospective is conceived as an immersive environment for the visitor, featuring several monumental multi-channel video installations, or “walk-through experiences,” as the artist describes them. To create these installations, Atlas “explodes” single-channel videos into new configurations, presenting the videos on multiple suspended screens and monitors around the gallery, so visitors can move between and among them.

Atlas’s early career is defined by his time as filmmaker-in-residence at the Merce Cunningham Dance Company, New York. Atlas and Cunningham created the genre of “media-dance”: dance made for the camera, rather than an in-person audience, wherein the camera moves seamlessly in concert with the dancers. Since leaving the Merce Cunningham Dance 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 for the camera through groundbreaking collaborations with Michael Clark, Yvonne Rainer, Leigh Bowery, Marina Abramović, Rashaun Mitchell, and Silas Riener, and many 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 conventions of gender, sexuality, and queer identity have been at the heart of Atlas’s creative output for decades. 

Charles Atlas 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 shifting political and cultural landscape of the United States from the 1970s to the present acts as a backdrop to this dynamic visual exhibition, addressing themes of performance and portraiture, gender and sexuality, and collaboration and friendship.

Since the early 1990s, Huma Bhabha (born 1962 in Karachi) has developed a distinct visual vocabulary that draws upon a wide variety of influences, including horror movies, science fiction, ancient artifacts, religious reliquary, and modernist sculpture. The largest survey of the artist’s work to date, Huma Bhabha: They Live encompasses sculpture, drawing, and photography, with a special focus on Bhabha’s engagement with the human figure.

Best known for her sculptures, Bhabha uses a diverse array of natural, industrial, and found materials to make compelling works that engage the arts and histories of diverse cultures. Her work transcends a singular time and place, instead creating an exploration of what she describes as the “eternal concerns” found across all cultures: war, colonialism, displacement, and memories of home.

Huma Bhabha: They Live also includes drawings, photographs, and prints spanning the past two decades, as well as new works made on the occasion of this exhibition. It is accompanied by a lushly illustrated scholarly publication.

The ICA presents the first comprehensive American exhibition of performative objects, video installations, and interactive sculptures of the internationally celebrated choreographer William Forsythe. 

World renowned, Forsythe is counted among the foremost choreographers of our time. For over four decades he has created productions that redefine classical ballet’s vocabulary, and his groundbreaking approach to choreography, staging, lighting, and dance analysis has influenced countless choreographers and artists. Since the 1990s, parallel to his stage productions, Forsythe has developed installations, sculptures, and films that he calls Choreographic Objects. Blurring the lines between performance, sculpture, and installation, his Choreographic Objects invite the viewer to engage with the fundamental ideas of choreography. These site-responsive, interactive works are designed to stimulate movement from visitors through interactions with kinetic sculptures, video projections, and architectural environments. The exhibition features large-scale installations, including several works developed for the ICA. Via the artist’s instructions for action posted on the wall next to the works, visitors are invited to move freely through the performative exhibition and generate an infinite range of individual choreographies.

William Forsythe: Choreographic Objects coincides with Forsythe’s five-year residency at the Boston Ballet, providing audiences with instrumental insight into his pioneering choreographic work across different platforms. Catch a new world premiere in Full on Forsythe March 7–17, 2019.

The exhibition is accompanied by a richly illustrated publication featuring writers from the disciplines of both dance and art.

Timed Tickets

Timed tickets are required on weekends, February vacation week (Feb 18-21), and President’s Day in order to ensure an enjoyable experience for all. Tickets will be available on site only on a first-come, first-served basis. Tickets are limited and do sell out. We recommend arriving early on weekends or visiting during the week to secure tickets.

ICA Members do not need a timed ticket, and are always guaranteed entry into the exhibition. Become a member today!

Admission is free for youth 17 and younger, but tickets are still required. 

Please note: timed tickets do not guarantee that there will not be wait times for certain artworks. 

Guidelines

 We ask that you engage in the works in William Forsythe in a way that promotes your own safety, is mindful of others’ experiences and safety, and respects the safety of the artwork. Note that all participation is voluntary and at the visitor’s own risk. The ICA will not assume responsibility for any injury, loss, or damage incurred.

−  Please remove coats and bags before entering interactive works of art.

−  No running or jumping.

−  Please follow the artist’s guiding instructions, posted near the artworks, on how to participate with each piece.

 The Fact of Matter

Artist’s instructions: PLEASE TRAVERSE THE SPACE USING ONLY THE RINGS.

−  Participation time in this work may be limited to 5 minutes during timed ticketing periods and at the discretion of gallery staff. Eight visitors may participate at one time.

−  Minors 12 years and under must be monitored by an accompanying adult.

−  The Fact of Matter is not recommended for children younger than 6. Participation for children younger than 6 is at the discretion of accompanying adults and with close supervision only.

Nowhere and Everywhere at the Same Time, No. 3

Artist’s instructions: PLEASE ENTER, AVOIDING ANY CONTACT WITH THE PENDULUMS.

−  No more than 10 visitors may actively engage at one time.

−  For safety reasons, wheelchairs, strollers, and children younger than 3 may not enter the work.

−  If you get twisted in a pendulum, please detangle yourself carefully so the pendulum remains in place. If you need help, Visitor Assistants are available in the gallery to assist you.

Video

While recording video is not allowed in other parts of the ICA, the recording of non-video artworks and experiences is allowed within this exhibition.

Go deeper

This exhibition William Forsythe: Choreographic Objects invites visitors to interact with a variety of objects and environments in unexpected ways. Below are a few frequently asked questions.

Can I touch the work? 

In most cases, yes! Participants are invited to interact with many of the artworks on view according to the artist’s instructions, which are provided on labels next to the artworks. Each label also includes interpretive descriptions and a symbol indicating whether it is okay to touch the work. We kindly ask that visitors do not touch the video screens and projectors. 

Can I participate physically without a dance background?

Yes! Forsythe believes choreography is for everybody, not just those with a dance background. He also believes choreography can arise anywhere, not just on the theater stage. For Forsythe, dance and choreography are different and can exist independently of each other. As he notes, “Choreography is not necessarily bound to dance, nor is dance bound to choreography, for that matter—you can just get up and dance.”

What If I am not able to interact with all the works?

There is no “right way” to interact with Choreographic Objects. Each visitor will approach the works differently and, in the process of trying to solve the problems they pose, may gain a new understanding of movement or of their body. We encourage visitors of all ages and abilities to interact with the works however they wish—whether through physical interaction, observing others, or considering the range of experiences presented on tablets within the galleries. If you visit with friends or family, you might try some of the interactive works together and talk about your experiences—you may find that they vary greatly.

Are these works appropriate for kids?

Yes! Many kids will love interacting with the Choreographic Objects. In fact, children often intuitively embody the trial-and-error processes of action-based knowledge that Forsythe is exploring. We request that parents and caretakers determine if their child can participate physically and oversee and remain with children while they interact with the works. Two works have age restrictions: For The Fact of Matter, minors 12 and under must be monitored by an accompanying adult, and the work is not recommended for children younger than 6—participation for children younger than 6 is at the discretion of accompanying adults and with close supervision only. For safety reasons, children younger than 3 may not enter Nowhere and Everywhere at the Same Time.

Some of these works are difficult or impossible to do. Why?

Ideas of physical limitation, the illusion of weightlessness, the productivity of failure, and the heroism of persevering in difficult situations have been steadfast concerns of Forsythe on stage and beyond. In many Choreographic Objects, participants are compelled to consider both the body’s physical capacities and its limitations as part of his investigation of action-based knowledge. For him, trial and error remains a productive means of learning. Some of the works are indeed nearly impossible; visitors are encouraged to attempt and experience the works however they wish.

Can I take video of these artworks?

Although video recording is typically against ICA policy, it is allowed within William Forsythe: Choreographic Objects, with the exception of video works. We encourage you to share your experience of the work and appreciate your considering other museum visitors by taking video in an unobtrusive manner.

Additional background

William Forsythe was born in New York in 1949, and resides in Vermont. Trained in classical ballet in Florida and New York, Forsythe joined the Stuttgart Ballett in 1973 and went on to direct the Ballett Frankfurt for twenty years. He directed the smaller, more specialized Forsythe Company, in Frankfurt and Dresden, from 2005 to 2015. His Choreographic Objects have been exhibited globally in venues such as Tate Modern’s Turbine Hall, the Venice and Sydney Biennales, La Villette/Grande Halle, Paris as part of Festival d’automne, and museums such as Wexner Center for the Arts, Columbus, Ohio, Museum fur Moderne Kunst, Frankfurt, and Hayward Gallery, London. He has received numerous awards and in 2010 was honored with the Golden Lion for Lifetime Achievement at the Venice Biennale.

Printable FAQ

Virgil Abloh: “Figures of Speech” is the first museum exhibition devoted to the work of the genre-bending artist and designer Virgil Abloh (b. 1980, Rockford, IL). Abloh pioneers a practice that cuts across media and connects visual artists, musicians, graphic designers, fashion designers, and architects. 

Abloh cultivated an interest in design and music at an early age, finding inspiration in the urban culture of Chicago. While pursuing a master’s degree in architecture from the Illinois Institute of Technology, he worked on album covers, concert designs, and merchandising. In 2013, Abloh founded his stand-alone fashion brand Off-White™ in Milan, Italy, and, in 2018, assumed the position of artistic director of Louis Vuitton’s menswear. 

Organized by the Museum of Contemporary Art Chicago and set in an immersive space designed by Rem Koolhaas’s renowned architecture firm OMA*AMO, the exhibition will offer an in-depth look at defining highlights of Abloh’s career, including signature clothing collections, video documentation of iconic fashion shows, distinctive furniture and graphic design work, and collaborative projects with contemporary artists. A program of cross-disciplinary offerings will mirror the artist’s range of interests across music and design. 

Tickets available now

Explore the companion pop-up store, “Church & State”

Explore an Abloh-inspired zine by ICA Teens

How artists have used ornamentation to transform craft and design, feminism, queerness and gender, beauty and taste, camouflage and masquerade, and multiculturalism and globalism.

Less Is a Bore: Maximalist Art & Design brings together works in painting, sculpture, ceramic, dance, furniture design, and more that privilege decoration, pattern, and maximalism.

Borrowing its attitude from architect Robert Venturi’s witty retort to Mies van der Rohe’s modernist edict “less is more,” Less Is a Bore shows how artists, including those affiliated with the Pattern & Decoration movement of the 1970s, have sought to rattle the dominance of modernism and minimalism. Encouraged by the pluralism permeating many cultural spheres at the time, these artists accommodated new ideas, modes, and materials, challenging entrenched categories that marginalized non-Western art, fashion, interior design, and applied art.

The exhibition considers how artists have used ornamentation, pattern painting, and other decorative modes to critique, subvert, and transform accepted histories related to craft and design, feminism, queerness and gender, beauty and taste, camouflage and masquerade, and multiculturalism and globalism. More recent artworks in the exhibition chart both the legacy and transformation of these trajectories.

Spanning generations, geographies, and traditions, Less Is a Bore includes works ranging from experiments in patterning by Sanford Biggers, Jasper Johns, and Miriam Schapiro to the transgressive sculpture and furniture of Lucas Samaras and Ettore Sottsass, to the installations of Polly Apfelbaum, Nathalie du Pasquier, and Virgil Marti.  

Full artist list

Ron Amstutz (b. 1968, Youngstown, OH)
Polly Apfelbaum (b. 1955, Abington Township, PA)
Jennifer Bartlett (b. 1941, Long Beach, CA)
Sanford Biggers (b. 1970, Los Angeles)
Tord Boontje (b. 1968, Enschende, The Netherlands)
Leigh Bowery (b. 1961, Sunshine, Australia; d. 1995, London) and Fergus Greer (b. England)
Roger Brown (b. 1941, Hamilton, AL; d. 1997, Atlanta)
Taylor Davis (b. 1959, Palm Springs, CA)
Nathalie Du Pasquier (b. 1957, Bordeaux, France)
Monir Shahroudy Farmanfarmaian (b. 1922, Qazvin, Iran; d. 2019, Tehran, Iran) 
Jeffrey Gibson (b. 1972, Colorado Springs, CO)
Nancy Graves (b. 1939, Pittsfield, MA; d. 1995, New York)
Valerie Jaudon (b. 1945, Greenville, MS)
Jasper Johns (b. 1930, Augusta, GA)
Joyce Kozloff (b. 1942, Somerville, NJ)
Robert Kushner (b. 1949, Pasadena, CA)
Ellen Lesperance (b. 1971, Minneapolis)
Sol LeWitt (b. 1928, Hartford, CT; d. 2007, New York)
Liza Lou (b. 1969, New York)
Babette Mangolte (b. 1941, Montmorot, France) and Lucinda Childs (b. 1940, New York)
Virgil Marti (b. 1962, St. Louis)
Dianna Molzan (b. 1972, Tacoma, WA)
Joel Otterson (b. 1959, Los Angeles)
Laura Owens (b. 1970, Euclid, OH)
Howardena Pindell (b. 1943, Philadelphia)
Lari Pittman (b. 1952, Los Angeles)
Ruth Root (b. 1967, Chicago)
Lucas Samaras (b. 1936, Kastoria, Greece)
Zoe Pettijohn Schade (b. 1973, Boston)
Miriam Schapiro (b. 1923, Toronto; d. 2015, Hampton Bays, NY)
Ettore Sottsass (b. 1917, Innsbruck, Austria; d. 2007, Milan)
Frank Stella (b. 1936, Malden, MA)
Stephanie Syjuco (b. 1974, Manila, Philippines)
Philip Taaffe (b. 1955, Elizabeth, NJ)
Venturi, Scott Brown & Associates (founded 1960 as Venturi & Associates, Philadelphia)
Marcel Wanders (b. 1963, Boxtel, The Netherlands)
Pae White (b. 1963, Pasadena, CA)
Kehinde Wiley (b. 1977, Los Angeles)
Franklin Williams (b. 1940, Ogden, UT)
Betty Woodman (b. 1930, Norwalk, CT; d. 2018, New York)
Christopher Wool (b. 1955, Chicago)
Haegue Yang (b. 1971, Seoul)
Ray Yoshida (b. 1930, Kapaa, Hawaii, HI; d. 2009, Kauai, HI)
Robert Zakanitch (b. 1935, Elizabeth, NJ)

The exhibition is accompanied by a fully illustrated publication with essays by Elissa Auther, Amy Goldin, and Jenelle Porter.

Please note: One work in this exhibition contains a video with rapidly changing, high-contrast imagery that creates a flashing effect.

International artists respond to the migration, immigration, and displacement of peoples today, in works ranging from personal accounts to poetic meditations.

When Home Won’t Let You Stay: Migration through Contemporary Art considers how contemporary artists are responding to the migration, immigration, and displacement of peoples today. We are currently witnessing the highest levels of movement on record—the United Nations estimates that one out of every seven people in the world is an international or internal migrant who moves by choice or by force, with great success or great struggle. When Home Won’t Let You Stay borrows its title from a poem by Warsan Shire, a Somali-British poet who gives voice to the experiences of refugees. Through artworks made since 2000 by twenty artists from more than a dozen countries — such as Colombia, Cuba, France, India, Iraq, Mexico, Morocco, Nigeria, Palestine, South Korea, the United Kingdom, and the United States — this exhibition highlights diverse artistic responses to migration ranging from personal accounts to poetic meditations, and features a range of mediums, including sculpture, installation, painting, and video. Artists in the exhibition include Kader Attia, Tania Bruguera, Isaac Julien, Hayv Kahraman, Reena Saini Kallat, Richard Mosse, Carlos Motta, Yinka Shonibare, Xaviera Simmons, and Do-Ho Suh, among others. A fully illustrated catalogue accompanies the exhibition, with an essay by Eva Respini and Ruth Erickson and texts by prominent scholars Aruna D’Souza, Okwui Enwezor, Thomas Keenan, Peggy Levitt, and Uday Singh Mehta, among others. 

Advisors + Partners

The ICA is extremely grateful to the generosity and input of the following advisors, who shared input on the exhibition and its language, programming, didactics, and outreach, over the course of several meetings:

Local organizations NuLawLab, Maverick Landing Community Services, ZUMIX, and the Golden Stairs Immigration Center in East Boston have been instrumental to Boston artist and advisory board member Anthony Romero’s community-based project …first in thought, then in action.

Resources

For further information on immigration and how you might lend or seek assistance, we refer you to local, national, and international organizations below. If you have recommendations of other organizations, please email info@icaboston.org. 

Boston-Area

ACLU of Massachusetts
Massachusetts Immigrant and Refugee Advocacy Coalition
City of Boston’s Immigrant Advancement Department (through the Mayor’s Office)
Political Asylum/Immigrant Representation (PAIR) Project
Berkshire Immigrant Center
East Boston Ecumenical Community Council
Centro Presente
International Institute of New England
The Immigrant Learning Center
Boston International Newcomers Academy (BINCA)
Re-imagining Migration
Irish International Immigrant Center
Greater Boston Legal Services
Boston Center for Refugee Health & Human Rights
Mass.gov: Office for Refugees & Immigrants
DHS: Yearbook of Immigration Statistics
Asian American Civic Association
North American Indian Center of Boston
The Inter-University Committee on International Migration, with MIT, Boston University, Brandeis University, Fletcher School of Law and Diplomacy, Harvard University, Tufts University, and Wellesley
Boston Center for Refugee Health & Human Rights at Boston Medical Center
De Novo Center for Justice and Healing

​Legal

American Society for International Law
International Criminal Court
DePaul University International Human Rights Law
Legal Research of International Law Issues Using the Internet
University of Minnesota Human Rights Library
Immigration Lawyers on the Web
The Political Asylum/ Immigration Representation Project
American Immigration Lawyers Association

​Human Rights Advocacy, Healthcare, and Treatment

Massachusetts Immigrant and Refugee Advocacy Coalition
The Refugee Media Project
National Consortium of Torture Treatment Programs (NCTTP)
The Center for Victims of Torture (CVT)
HealTorture.org
Affordable Care Act Resources for Refugees
Catholic Charities Archdiocese of Boston
United Nations High Commissioner for Refugees
American Immigration Council
International Committee of the Red Cross
Doctors without Borders
International Organization for Migration

Northeast Activist and Community Organizations

CASA 
Junta for Progressive Action 
Maine People’s Alliance 
Make the Road New York 
Massachusetts Immigrant and Refugee Advocacy Coalition (MIRA)
New Hampshire Alliance for Immigrant Rights 
Pennsylvania Immigration and Citizenship Coalition (PICC)
The New York Immigration Coalition (NYIC)

National Organizations

American Civil Liberties Union (ACLU)
American Immigration Council
International Rescue Committee
Migration Policy Institute
National Immigration Law Center 
Pew Research Center
Refugee and Immigrant Center for Education and Legal Services (RAICES)
Refugee Council USA
Refugees International
US Committee for Refugees and Immigrants

After its conclusion in Boston, When Home Won’t Let You Stay will travel to the Minneapolis Institute of Arts, Minneapolis from February 23 to August 23, 2020, and to the Iris and Gerald B. Cantor Center for the Visual Arts at Stanford University February 5 to May 31, 2021. 

“I photograph family, friends, and strangers, and I operate on the belief that my own being is found in union with those I take pictures of.” 

—Deana Lawson

This exhibition is the first museum survey dedicated to the work of Deana Lawson (b. 1979 in Rochester, NY), a singular voice in photography today. For more than 15 years, Lawson has been investigating and challenging conventional representations of Black life through a wide spectrum of photographic languages, including the family album, studio portraiture, staged tableaux, documentary pictures, and appropriated images. Engaging acquaintances as well as strangers she meets on the street, Lawson meticulously poses her subjects in highly staged photographs that picture narratives of family, love, and desire, and create what the artist describes as “a mirror of everyday life, but also a projection of what I want to happen. It’s about setting a different standard of values and saying that everyday Black lives, everyday experiences, are beautiful, and powerful, and intelligent.” 

This survey exhibition will include a selection of photographs from 2004 to the present, and will be accompanied by a fully illustrated scholarly catalogue, featuring the voices and perspectives of a variety of scholars, historians, and writers. Deana Lawson will travel to MoMA PS1 April 14–September 5, 2022 and to the High Museum October 7, 2022–February 19, 2023. 

A medium-dark-skinned woman and two children pose in a domestic space with a tinsel Christmas tree and walls painted bright blue.

Explore the Deana Lawson Family Resource Guide

Hear from the curators, community members, artists, and more on the ICA Digital Guide

ICA/Boston presents the first comprehensive museum survey for American artist Sterling Ruby.

The exhibition features more than 70 works that demonstrate the relationship between material transformation in Ruby’s practice and the rapid evolution of culture, institutions, and labor. Spanning more than two decades of the artist’s career, the exhibition looks to the origins and development of his practice, through mediums ranging from lesser-known drawings and sculptures to his renowned ceramics and paintings.

Since his earliest works, Ruby has investigated the role of the artist as an outsider. Critiquing the structures of modernism and traditional institutions, Ruby addresses the repressed underpinnings of U.S. culture and the coding of power and violence. Craft is central to his inquiry, as he explores California’s radical ceramics history and traditions of Amish quilt making, shaped by his upbringing in Pennsylvania Dutch country. The process of combining disparate elements is central to Ruby’s material reclamations, which serve as a form of autobiographical and cultural archeology. Organized loosely by chronology and medium, Sterling Ruby considers the artist’s explorations of these themes across the many materials and forms he has utilized throughout his practice.

Sterling Ruby is co-presented with Institute of Contemporary Art, Miami, and is accompanied by an illustrated scholarly catalogue edited by Alex Gartenfeld and Eva Respini, with a conversation between Ruby and Isabelle Graw. Published with DelMonico Prestel, the catalogue features essays that consider Ruby’s work amidst the contemporary art production and visual culture of the last 30 years.

Sterling Ruby (American/Dutch, b. 1972, Germany) is a leading contemporary artist whose work has been presented in solo exhibitions throughout the globe. Ruby received his B.F.A. in 2002 from the School of the Art Institute of Chicago, Illinois, and his M.F.A. in 2005 from the Art Center College of Design, Pasadena. He currently lives and works in Los Angeles.

Educational materials

Credits

Sterling Ruby is organized by Eva Respini, Barbara Lee Chief Curator, ICA/Boston, and Alex Gartenfeld, Artistic Director, ICA, Miami, with Jeffrey De Blois, Assistant Curator and Publications Manager, ICA/Boston.

Sterling Ruby is on view at ICA, Miami November 7, 2019 – February 2, 2020.

Major support for Sterling Ruby is provided by Sprüth Magers, Gagosian, and Xavier Hufkens.

SPONSORS_Spruth Magers Gagosian Xavier Hufkens combined Sterling Ruby

Additional support for the Boston presentation is generously provided by Stephanie Formica Connaughton and John Connaughton, Jean-François and Nathalie Ducrest, Bridgitt and Bruce Evans, James and Audrey Foster, Ted Pappendick and Erica Gervais Pappendick, David and Leslie Puth, and Charlotte and Herbert S. Wagner III.