By recovering collective processes of meaning-making linked to the place of belonging, the exhibition calls for the persistence of a present that reverses the neoliberal logic of economic concentration and hyper-individualism. Instead, it offers the possibility of thinking about that shared place where one listens to what cannot be seen with the eyes.
Lizania Cruz fills the gallery with “evidence” of the whitewashing efforts of the Dominican state, which has long employed anti-Black and anti-Haitian rhetoric to erase centuries of multi-racial and working-class resistance to its pattern of authoritarianism and US-intervention.
Countering a slowly changing mainstream museum and gallery trend in the United States which has traditionally viewed Latin American art as derivative or exotic, an underlying thread of this exhibition highlights González’s contribution to the history of 20th-Century art, while dispelling the misconception of González’s work as part of the international pop art movement, in favor of more “nuanced practice in relation to the context from which it emerged.”
Monterroso, an artist with Maya Q’eqchi’ roots, focuses her attention this time on more modest materials. Leftover fabrics from a local rug factory and organic cotton and linen embellished with embroidery and neon lights effectively become a compelling locus where discussions about healing wounds within a complex postcolonial heritage occur.
Dr. Martin Luther King Jr. lead “The Poor People’s Campaign”, a multicultural, multi-faith, multi-racial movement aimed at uniting poor people and their allies to demand an end to poverty and inequality. This exhibition represents a visual response to Dr. King’s “last great dream” as well as Reverend Barber’s recent “National Call for Moral Revival.”