The videos are assemblages from past work that aims to help us remember how to be thriving, radical and Black.

A Soviet 1969 GAZ 69A serves tropicalized Russian espresso drinks in a nod to a Cold War era trade deal between the Soviet and Colombian governments.

Focus on a particular (or vague) goal while walking through this exhibit. Weave in and out of the cones… pass off to a companion or not… walk through the goal. Realize your goals for yourself. Play.

The simplicity and connectivity of the fractal concept is meant to engage the viewer in a profoundly different way, bringing a certain peace, reflection and joy. 

The Artist’s Uniform is professional work clothing, an identifying mark of the art community.

With their help and participation, Newman sought to show how Russian parents and grandparents explained Communism and the Cold War to children, in both her St. Petersburg neighborhood and Pittsburgh’s Russian diaspora.

"I wrote down stories that are especially memorable for me and, on their basis, made instructions with actions through which I can simultaneously share these experiences while simultaneously turning them into something new."

You are entering the educational chillout zone. A kind of lecture overheard at a disco. Here is a play for a video that is a polylogue of neoplasms among themselves. 

Mguni uses text, found objects, flowers, video, and print media to carve out space for Black presence and to offer affirmation in a world that continues its violent attempts to erase, devalue, and disappear Black people. 

Credible is a series addressing the overwhelming abuse of the Catholic Church in the State of Alaska.

From the bright blue sky on one side of the room to the star-filled night time sky on the other, entering Naomi Chambers’ installation is like walking into a wonderland.

Entering into Njaimeh Njie’s installation is like walking into a memory. Easy family conversations fill and shape the space, and the voices fade and emerge as we move from living room, to kitchen, and back.