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Nationally touring exhibition curated by artist Jeffrey Gibson and Jenelle Porter; includes work by Teresa Baker, Raven Chacon, Kimowan Metchewais, Caroline Monnet, George Morrison, Mary Sully, Jaune Quick-to-See Smith, and Kay WalkingStick, among others

(Boston, MA—MAY 2, 2025) This October, the Institute of Contemporary Art/Boston (ICA) opens An Indigenous Present, a thematic exhibition spanning 100 years of contemporary Indigenous art. The exhibition includes new commissions and significant works by 15 artists who use strategies of abstraction to represent personal and collective narratives, describe specific and imagined places, and build upon cultural and aesthetic traditions. Co-organized by artist Jeffrey Gibson and independent curator Jenelle Porter, the exhibition offers an expansive consideration of Indigenous art practices that highlights a continuum of elders and emerging makers, and premieres newly commissioned site-specific works by Raven Chacon, Caroline Monnet, and Anna Tsouhlarakis. An Indigenous Present emerges from Gibson and Porter’s 2023 landmark publication of the same name, which, through a collaborative process, brought together work by Native North American artists exploring diverse approaches to concept, form, and medium. Their engagement with artists during the making of the book inspired this exhibition—one that demonstrates the endless variability of abstraction and its capacity to hold multiple forms and histories. An Indigenous Present debuts at the ICA, where it will be on view from October 9, 2025, through March 8, 2026, before traveling to the Frist Art Museum in Nashville (June 26—September 27, 2026) and the Frye Art Museum in Seattle (November 7, 2026—February 14, 2027). 

“This exhibition is one take on the field of contemporary art and culture by Native and Indigenous makers. Some of these artists have been working for decades, and I follow in their path; others are at an earlier stage in their career, and I see new routes and possibilities in their respective practices. Together, they are amplifying the histories that have come before them and building a new context for present and future artists,” said Gibson.

​​Porter added: ​“Since curating Jeffrey’s first solo museum exhibition at the ICA in 2013, he and I have continued to think together about ways to enlarge art histories. This exhibition is a proposal, one that explores the ways that these artists challenge the often arbitrary, historical categorizations of art by Indigenous makers​.”​ 

The exhibition unfolds across 10 galleries, beginning with a focus on the work of George Morrison and Mary Sully, two important forebearers in the development of contemporary Indigenous art during the first half of the 20th century. Throughout the exhibition, works by emerging artists are positioned in dialogue with those by more established makers. Kay WalkingStick and Dakota Mace explore seriality and repetition in bodies of work realized in the 1970s and 2020s, respectively. WalkingStick’s Chief Joseph Series—dedicated to the heroic Niimíipuu / Nez Perce chief—presents a grid of 32 paintings that characterize the artist’s decades-long devotion to serial forms and storytelling. Mace’s So’ II (Stars II) is composed of 40 unique chemigram prints that draw on Diné (Navajo) design histories and heritage. In another artistic dialogue, George Morrison and Teresa Baker evoke the land and light of their own ancestral homelands through an interplay of color and form. Morrison, who trained alongside Abstract Expressionists painters in New York in the 1950s, is known for vibrant compositions, especially those inspired by the horizon near his Lake Superior, MN, home. Baker composes with yarn, paint, willow, and hide on irregularly cut artificial turf to create large-scale abstractions that convey her memories of place, such as the Northern Plains of her youth, as well as legacies of color field painting and collage.

At the ICA, An Indigenous Present includes two new commissions that expand the exhibition beyond the galleries. An immersive sound work by Raven Chacon will fill the ICA’s Founders Gallery overlooking Boston Harbor. Monnet’s site-specific installation for the museum’s Sandra and Gerald Fineberg Art Wall is composed of commercial building materials—such as Tyvek and roofing underlayment—that are sewn into a fractal-based composition inspired, in part, by Boston’s 600-year history of land reclamation and the ICA’s harbor location. The fractal patterns, or population “blooms,” derive from Anishinaabeg designs that, for the artist, symbolize interconnectedness, knowledge transmission, and kinship. Throughout the run of the exhibition, the ICA will host a series of performances of Raven Chacon’s scores and sound works, a film series curated by artist Sky Hopinka in the ICA’s Barbara Lee Family Foundation Theater, and a number of other public programs (dates and details to be announced). 

Artist List
Teresa Baker (Mandan/Hidatsa; born 1985 in Watford City, ND)
Raven Chacon (Diné; born 1977 in Fort Defiance, Navajo Nation)
Sky Hopinka (Ho-Chunk Nation; born 1984 in Bellingham, WA)
Sonya Kelliher-Combs (Iñupiaq/Athabascan; born 1969 in Bethel, AK)
Gabrielle L’Hirondelle Hill (Cree and Métis; born 1979 in Comox, British Columbia)
George Longfish (Seneca and Tuscarora; born 1942 in Ohsweken, Ontario)
Dakota Mace (Diné; born 1991 in Albuquerque, NM)
Kimowan Metchewais (Cree; born 1963 in Oxbow, Saskatchewan; died 2011, St. Paul, Alberta)
Caroline Monnet (Anishinaabe [Algonquin] and French; born 1985 in Ottawa, Ontario)
George Morrison (Ojibwe; born 1919 in Chippewa City, MN; died 2000, Red Rock, MN)
Audie Murray (Cree and Métis; born 1983 in Saskatoon, Saskatchewan)
Jaune Quick-to-See Smith (citizen of the Confederated Salish and Kootenai Nation; born 1940 in St. Ignatius Mission, Flathead Reservation, MT; died 2025, Corrales, NM)
Mary Sully (Susan Mabel Deloria) (Yankton Dakota; born 1896 in Standing Rock Reservation, ND; died 1963, Omaha, NE)
Anna Tsouhlarakis (Navajo/Creek/Greek; born 1977 in Lawrence, KS)
Kay WalkingStick (Cherokee and Anglo; born 1935 in Syracuse, NY)

Credits  
An Indigenous Present is organized by Jeffrey Gibson and Jenelle Porter, guest curators, with Erika Umali, Curator of Collections, and Max Gruber, Curatorial Assistant.  

This exhibition is supported in part by Peggy J. Koenig, Barbara H. Lloyd, and Kim Sinatra.  

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

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.  

Media Contact 
Theresa Romualdez, press@icaboston.org 

New $100,000 award recognizes the achievements of women visual artists

(Boston, MA—MARCH 18, 2025) The Institute of Contemporary Art/Boston (ICA) is pleased to announce Sarah Sze (b. 1969, Boston, MA) as the inaugural recipient of its new Meraki Artist Award. Widely recognized for expanding the boundaries between painting, sculpture, video, and installation, Sze’s work blends the intimate with the monumental, precision with chaos, and the physical with the digital. Her intimate paintings and large-scale installations and public works challenge perceptions of space, time, and scale, making her one of the most compelling artists of our time.

“It’s a huge honor to be the first recipient of the Meraki Artist Award and I’m inspired by the dedication to love, care, and art that the award stands for,” said Sze.  

Generously funded by Fotene Demoulas, the $100,000 award celebrates the artistic achievements of women artists and their impact on the field of contemporary visual art. Sze will accept the Meraki Artist Award at the museum’s annual Women’s Luncheon on May 5, 2025. 

“I am honored to collaborate with the ICA to spotlight the passion and presence that women visual artists bring to their practice through the Meraki Artist Award,” said Demoulas. “I want to offer heartfelt congratulations to Sarah, whose innovate work inspires us to see the world in new ways.”

“In Greek, the word meraki means to pour your soul into something, and I can think of no better way to describe Fotene’s longstanding support of artists and the ICA,” said Jill Medvedow, Ellen Matilda Poss Director of the ICA. “The generosity of this award is echoed in the open spirit and artistic expansiveness of Sarah’s work. We are thrilled to recognize Sarah as the inaugural recipient of the Meraki Artist Award and to celebrate her important contributions to art and culture.”

An exhibition of works promised to the ICA by Fotene and Tom Coté will go on view at the museum in January 2026. Reflecting their longtime support of artists at every stage of their career through exhibitions, publications, and museum acquisitions, the exhibition features work by 20 artists including Charlene von Heyl, Deana Lawson, Deborah Roberts, Diedrick Brackens, Laura Owens, Lynette Yiadom-Boakye, Mickalene Thomas, Njideka Akunyili Crosby, Olga de Amaral, and Sarah Sze. The artworks reflect multiple generations, styles, media, and thematic concerns, exemplifying a sustained interest in formal and material complexity and a steadfast belief in the singular perspectives that artists contribute to the world.

About Sarah Sze 
Sarah Sze gleans objects and images from worlds both physical and digital, assembling them into complex multimedia works that shift scale between microscopic observation and macroscopic perspective on the infinite. A peerless bricoleur, Sze moves with a light touch across proliferating media. Her dynamic, generative body of work spans sculpture, painting, drawing, printmaking, video, and installation while always addressing the precarious nature of materiality and grappling with matters of entropy and temporality. 

Born in Boston, Sze earned a BA from Yale University in 1991 and an MFA from the School of Visual Arts, New York, in 1997. While still in graduate school, she challenged the very nature of sculpture, at MoMA PS1 in New York, by burrowing into the walls of the building, creating sculptural portals and crafting ecosystems that radically transformed the host architecture. A year later, for her first solo institutional exhibition, at the Museum of Contemporary Art Chicago, she presented Many a Slip (1999), an immersive installation sprawling through several rooms in which flickering projections were scattered among complex assemblages of everyday objects. This marked Sze’s first foray into video, which has since become a central medium of her installations. Citing the Russian Constructivist notion of the “kiosk” as a key inspiration, she conceived subsequent installations as portable stations for the interchange of images and the exchange of information. Sze represented the United States in the 55th Venice Biennale in 2013, and her work has been the subject of numerous solo exhibitions, including recently at Nasher Sculpture Center, Dallas (2024); Solomon R. Guggenheim Museum, New York (2023); and Fondation Cartier, Paris (2020), and featured in the Carnegie International (1999); Whitney Biennial (2000); and the Bienal de São Paulo (2002). She was awarded a MacArthur Fellowship in 2003. 

About the Meraki Artist Award  
The Meraki Artist Award is an annual artist award that is a key part of the ICA’s efforts to exhibit, present and collect the work of women artists. The award takes its inspiration from the Greek word “meraki” (may-rah-kee), which means to do something with soul, love, or creativity. The Meraki Artist Award is funded by Fotene Demoulas and will continue to be supported for the next ten years. The artist will be recognized at the ICA’s annual Women’s Luncheon. 

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 

(Boston, MA—Feb. 20, 2025) Alison Croney Moses, Yorgos Efthymiadis, Damien Hoar de Galvan, and Sneha Shrestha (aka Imagine) have been named the recipients of the 2025 James and Audrey Foster Prize, the museum announced today. Their work will be presented in the 2025 James and Audrey Foster Prize Exhibition, on view from Aug. 25, 2025, through Jan. 19, 2026. Organized by Tessa Bachi Haas, Assistant Curator, the exhibition recognizes the global and local roots of each artist, and how this is reflected in their practice.

“The biannual James and Audrey Foster Prize Exhibition consistently introduces audiences to the vitality of Boston’s artistic community and supports artists through exhibition, collaboration and a deepened sense of community. It is always a highly anticipated moment within our exhibition program,” said Jill Medvedow, Ellen Matilda Poss Director. “We are grateful to Jim and Audrey Foster, whose ongoing generosity over two decades has made it possible for us to share the work of immensely talented area artists with many thousands of people in person and online.”   

“We are thrilled to congratulate the 2025 Foster Prize artists, whose work demonstrates the strength and creativity of Boston’s arts scene. We can’t wait to see their work on view in the ICA galleries,” the Fosters added.  

Following recent visits to over 50 Boston-area artist studios, Haas wishes to express her immense gratitude to each artist with whom she has met during this time and over her years in Boston. “It is a unique and necessary privilege to spend extended time with artists in their studios,” said Haas. “I am immensely proud to organize an exhibition of four outstanding artists who are pillars of supporting the arts, equity, and education in our region.” 

“Each of this year’s Foster Prize recipients draws on materials that connect their local and global roots,” said Haas. “Whether through woodworking, installation, sculpture, painting, and photography, the expansive art practices of Croney Moses, Efthymiadis, Galvan, and Shrestha underpin the strength of our greater Boston arts community.”  

The James and Audrey Foster Prize is key to the ICA’s effort to recognize, present, and acquire works by exceptional Boston-area artists. First established in 1999, the Foster Prize (formerly the ICA Artist Prize) expanded its format when the museum opened its Seaport building in 2006. James and Audrey Foster, passionate collectors and lifelong supporters of contemporary art, endowed the prize, ensuring the ICA’s ability to sustain and grow the program for years to come. 

The program has proven to be a springboard for many artists to have major museum exhibitions. The selection of artists for the James and Audrey Foster Prize Exhibition spans generations and results from sustained conversations with Boston’s community of working artists. More than 46 artists have participated in the Foster Prize exhibition program, including: Ambreen Butt (1999), Taylor Davis (2001), Kelly Sherman (2006), Rania Matar (2008), Evelyn Rydz (2010), Luther Price (2013), Lucy Kim (2017), Lavaughn Jenkins (2019), Marlon Forrester (2021), Yu-Wen Wu (2023), and many more. Works by many Foster Prize recipients have entered the ICA’s permanent collection.  

Artist Biographies 
Alison Croney Moses (born 1983, Fayetteville, North Carolina; lives and works in Roslindale, MA, and Allston, Boston, MA) creates wooden objects that reach for your senses—the smell of cedar, the glowing color of honey, the round form that signifies safety and warmth, the gentle curve that beckons to be touched. Born and raised in North Carolina by Guyanese parents, Croney Moses remembers making clothing, food, furniture, and art as part of her childhood. She carries these values and habits into adulthood and parenting, creating experiences, conversations, and educational programs that cultivate the current and next generation of artists and leaders in art and craft. Croney Moses holds an MA in Sustainable Business & Communities from Goddard College, and a BFA in Furniture Design from Rhode Island School of Design. She has been included in group exhibitions at Houston Center for Contemporary Craft (2024-25); Palais de Tokyo, Paris (2024); Bill & Melinda Gates Foundation Discovery Center (2023); Center for Art in Wood, Philadelphia (2022-23); MassArt Art Museum, Boston (2022); the Museum of Fine Arts, Boston (2021-22); and Center for Architecture + Design, Philadelphia (2021), among others. Croney Moses’s work is in the collections of Fuller Craft Museum, Brockton, MA; Museum of Fine Arts, Boston; Museum of Fine Arts, Houston; Detroit Institute of Arts Museum; and Renwick Gallery, Smithsonian American Art Museum, Washington, D.C. She is recipient of the 2024 Black Mountain College International Artist Prize, the 2023 Boston Artadia Award, the 2022 USA Fellowship in Craft, and a finalist of the 2024 LOEWE FOUNDATION Craft Prize. She will debut her first public art installation at the Boston Public Art Triennial in 2025 through their Accelerator program. This is Croney Moses’s first institutional solo exhibition. 

Damien Hoar de Galvan (born 1979, Northampton, MA; lives and works in Milton, MA) has developed a unique output of painted sculpture made primarily from recycled wood for nearly 20 years. Some of the wood Hoar de Galvan uses is reclaimed from his time as a preparator at the deCordova Sculpture Park and Museum in Lincoln, MA, and from his father’s carpentry projects, which he began in the 1970s as an immigrant to Massachusetts from Argentina. Hoar de Galvan grew up between Western Massachusetts, Argentina, and spent most of his adolescence in Beverly, MA. He holds a Post-Baccalaureate Certificate from the School of the Museum of Fine Arts, Boston, and a BA from Green Mountain College in Poultney, VT. Hoar de Galvan has exhibited in group exhibitions at Concord Center for Visual Art, Concord, MA (2024); Drive-By Projects, Watertown, MA (2023); and has had several solo and group exhibitions at galleries in New York, Seattle, Santa Barbara, Los Angeles, San Francisco, and across Massachusetts. He is represented by Schoolhouse Gallery in Provincetown, MA. This is Hoar de Galvan’s first institutional solo exhibition. 

Sneha Shrestha (born 1987, Kathmandu, Nepal; lives and works in Kathmandu, Boston, and Somerville, MA), also known as Imagine, creates paintings, works on paper, sculpture, and larger-than-life murals that harmoniously blend her native Nepali and Sanskrit languages, mantras, sacred sounds used in meditation and prayer, and American graffiti hand styles. Education has always been at the forefront of Shrestha’s work to celebrate and inspire an appreciation for the beauty and diversity of Nepali language. Shrestha received her MA in Education from Harvard University. She has had a solo exhibition at Cantor Arts Gallery, College of the Holy Cross, Worcester, MA (2024); and participated in group exhibitions at Wrightwood 659, Chicago (2024-25); Nepal Arts Council, Kathmandu (2024); and Rubin Museum of Himalayan Art, New York (2024). In 2025, she will complete a public art project in partnership with Rubin Museum and New York City Department of Transportation’s Temporary Art Program. One of her iconic public murals is at the corner of Massachusetts Avenue and Main Street in Central Square, Cambridge, MA, and her work can also be found in the collections of the Museum of Fine Arts, Boston; and Fidelity Art Collection, among others. Shrestha’s additional honors include a commissioned thirty-foot sculpture at the Isabella Stewart Gardner Museum, Boston (2024); a grant from the Collective Futures Fund (2024); becoming the first contemporary Nepali artist the be included in the Museum of Fine Arts, Boston’s permanent collection (2023); inclusion in WBUR The ARTery’s 25 Millennials of Color (2019); recognition as one of the 100 most influential women in Nepal by the Nepal Cultural Council (2018); a Boston Artist-in-Residence Award (2018); the HUBWeek Change Maker Award (2018); South Asia and the Arts Fund Grant, Harvard University (2017); and Project Zero Artist-in-Residence Award, Harvard University (2017). She was recently selected for a studio residency at Boston Center for the Arts. 

Yorgos Efthymiadis (born 1972, Halkidiki, Greece; lives and works in Somerville, MA) is an artist and curator who works in photographic media. Drawing from his experience as an architectural photographer, recent series by Efthymiadis explore portraiture of kin through their material cultures and surrounding natural environments in Greece, Boston, and beyond. Efthymiadis has had solo exhibitions at Gallery Kayafas, Boston (2024, 2019, and 2016) and the Griffin Museum of Photography, Winchester, MA (2016); and has been included in several group exhibitions including at the Griffin Museum of Photography, Winchester, MA (2025, 2024, 2023, and 2020); Boston City Hall (2024 and 2017); Filter Photo Gallery, Chicago (2023, 2022, 2017, and 2014); Vermont Center for Photography, Brattleboro, VT (2022 and 2017); Danforth Art Museum, Framingham, MA (2022, 2016, 2015, and 2013); Distillery Gallery, Boston (2021); Rhode Island Center for Photographic Arts, Providence (2020); Somerville Museum, Somerville, MA (2019); and Photographic Resource Center, Boston (2015). Efthymiadis is an awardee of the Artist’s Resource Trust A.R.T. Grant (2024); a finalist for the Massachusetts Cultural Council Fellowship (2017); and recipient of the St. Botolph Club Foundation Emerging Artist Award (2017). A board member of Somerville Arts Council and chair of the Visual Arts Fellowship Grants since 2017, Efthymiadis has also been a reviewer for the Lenscratch Student Prize Awards since 2023 and finds it deeply fulfilling to work with fellow photographers and give back to the photographic community. In 2015, Efthymiadis created a gallery in his own kitchen titled The Curated Fridge, to celebrate fine art photography and connect photographers with established and influential curators, gallerists, publishers, and artists from around the world through free, quarterly curated calls. The Curated Fridge recently celebrated 10 years of exhibitions featuring more than 1500 artists in 40 shows juried by 45 guest curators.  

Exhibition Credits
The 2025 James and Audrey Foster Prize is organized by Tessa Bachi Haas, Assistant Curator. 

This exhibition and prize are generously endowed by James and Audrey Foster. 

Stanley Whitney: How High the Moon traces the evolution of Whitney’s unique and powerful abstractions over the course of his 50-year career

(Boston, MA—February 6, 2025) In April 2025, the Institute of Contemporary Art/Boston (ICA) will open Stanley Whitney: How High the Moon. The ICA/Boston will be the last stop for this major touring survey, which traces the development of Whitney’s unique and powerful abstractions over his 50-year career. The exhibition includes over 100 works, featuring extensive installations of the artist’s improvisatory small paintings; drawings and prints; and a selection of his sketchbooks spanning from 1987 to 2021, offering a view into Whitney’s endless variations on the theme of color, form, and his engagement with the written word. 

Stanley Whitney: How High the Moon is organized by the Buffalo AKG Art Museum and is curated by Cathleen Chaffee, Charles Balbach Chief Curator at the Buffalo AKG Art Museum. The ICA’s presentation is organized by Ruth Erickson, Barbara Lee Chief Curator and Director of Curatorial Affairs, with Tessa Bachi Haas, Assistant Curator, and will be on view from April 17 through September 1, 2025. 

“Like the 1940 song, penned by Nancy Hamilton and Morgan Lewis, that inspired the exhibition’s title, Stanley Whitney: How High the Moon conveys feelings of enchantment through the artist’s consistent yet wholly expansive paintings,” said Ruth Erickson, Barbara Lee Chief Curator and Director of Curatorial Affairs at the ICA. “Whitney’s abstractions create a space for viewers focus on their wide-ranging responses to color, rather than a specific subject.” 

This exhibition places Whitney’s color-saturated paintings in the context of his diverse sources of inspiration, which include jazz and soul music, poetry, American quilting traditions, and global histories of art and architecture. Between the early 1970s and the early 1990s, while making works characterized by a bold, experimental palette and unique rhythm, Whitney wrestled with the spatial legacies of foreground and background, and of object and field. His travels through the American West, Italy, and Egypt in the mid-1980s and the early 1990s transformed his work. Prior this period, Whitney’s paintings of colorful forms were suspended in what Whitney called “landscape air.” In the decades since, inspired by the natural and built environments he encountered, including Egyptian Pyramids and the Roman Colosseum, he began grounding his paintings with the loose but ever-present framework featuring horizontal rows of alternately askant and ordered squares, resulting in the loosely gridded abstractions that capture the imagination of audiences today. 

Stanley Whitney: How High the Moon surveys Whitney’s extensive investigation of color at the true height of his career. The survey features the artist’s large-scale explorations of color alongside his improvisatory small paintings. His drawings and prints provide vital, and often overlooked, context to the artist’s practice. These smaller works will be exhibited alongside a chronological selection of the artist’s sketchbooks spanning from 1987 to 2021 to provide a view into Whitney’s engagement with the written word, and contemporary social and political issues.

This career retrospective is accompanied by a catalogue featuring new essays by Chaffee and host curators Ruth Erickson, Barbara Lee Chief Curator and Director of Curatorial Affairs at the ICA, and Pavel S. Pyś, Curator of Visual Arts at the Walker Art Center, Minneapolis. It also features texts by Kim Conaty, Nancy and Steve Crown Family Chief Curator at the Whitney Museum of American Art, New York; Normal Cole, a poet, designer, painter, and translator; and Duro Olowu, a London-based fashion designer and curator. These examinations of and reflections on the arc of Whitney’s career are presented alongside full-color reproductions of the works featured in the exhibition, a robust bibliography, an exhibition history, an illustrated chronology, and an extensive interview with the artist by Grégoire Lubineau and a conversation between Cole and Whitney.

Media Preview of Stanley Whitney: How High the Moon and Christian Marclay: Doors
Tuesday, April 15 from 9:30 AM
Join us for a walkthrough of Stanley Whitney: How High the Moon and Christian Marclay: Doors with curators Ruth Erickson and Tessa Bachi Haas.

The Artist’s Voice: Stanley Whitney with Narayan Khandekar
Thursday, April 17 at 7 PM 
In this conversation moderated by Ruth Erickson, Whitney and Khandekar, curator of the Forbes Pigment Collection at Harvard Art Museum and director of the Strauss Center for Conservation and Technical Studies, will come together to reflect on their lifetime work, including Whitney’s five decades of painting represented in his retrospective. 

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 
Stanley Whitney: How High the Moon is organized by the Buffalo AKG Art Museum. 

The exhibition is curated by Cathleen Chaffee, Charles Balbach Chief Curator, Buffalo AKG Art Museum. The ICA/Boston’s presentation is organized by Ruth Erickson, Barbara Lee Chief Curator and Director of Curatorial Affairs, with Tessa Bachi Haas, Assistant Curator. 

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

Believers brings together works by Janine Antoni, Kazumi Tanaka, Wolfgang Tillmans, Nari Ward, and Chen Zhen, alongside Jonathan Berger, Taylor Davis, Gordon Hall, Pallavi Sen, and Cauleen Smith 

(Boston, MA—JANUARY 16, 2025) On Feb. 13, 2025, the Institute of Contemporary Art/Boston (ICA) opens Believers: Artists and the Shakers, a tightly conceived group exhibition revisiting The Quiet in the Land: Everyday Life, Contemporary Art and the Shakers, an exhibition presented at the ICA in 1998. The Quiet in the Land was organized by independent curator France Morin and brought to the ICA by Jill Medvedow at the beginning of her tenure as Ellen Matilda Poss Director. Believers reunites a core group of works first presented in The Quiet in the Land by artists Janine Antoni, Kazumi Tanaka, Wolfgang Tillmans, Nari Ward, and Chen Zhen—some of which have been remade for this exhibition—alongside more recent works by artists Jonathan Berger, Taylor Davis, Gordon Hall, Pallavi Sen, and Cauleen Smith. Believers considers how contemporary artists continue to derive inspiration from the utopian community’s vital experience as “ordinary people attempting to live an extraordinary life.” On view from Feb. 13 to Aug. 3, 2025, Believers: Artists and the Shakers is organized by Jeffrey De Blois, Mannion Family Curator, with Tessa Bachi Haas, Assistant Curator. 

“The Quiet in the Land was a deeply meaningful project for me when I began my work at the ICA,” said Jill Medvedow, Ellen Matilda Poss Director of the ICA. “I look forward to revisiting many of the artworks included in the 1998 exhibition and to discover how Shaker ideas around community, utility, and simplicity continue to resonate with artists today.” 

The Quiet in the Land featured a dynamic body of works born out of an unorthodox residency initiated by Morin in 1996. During this residency, ten artists were invited to live, work, and worship in the only remaining active Shaker community located near New Gloucester in Sabbathday Lake, Maine. According to Morin, The Quiet in the Land set out “to explore the complex relationship between artistic practice and everyday life, as well as to define the spiritual impetus of the creative act,” with and through the art works inspired by the Shakers. Believers builds on the ways the earlier project “sought to probe conventional notions of gender, work, and spirituality, to redefine the making and experiencing of art, and to challenge the widespread belief that art and life exist in separate realms.” 

Since arriving in America from England 250 years ago, the Shakers—a radical Christian sect—have occupied a unique and romantic place in American national identity and the public imaginary. Also known as the United Society of Believers in Christ’s Second Appearing, the Shakers ascribe to values and practices of celibacy, communal living, pacifism, shared property, and gender and racial equality, and they are widely recognized for their simple living and architectural style, music, and furniture design. The Shakers have captured the imagination of many artists since at least the early 20th century, when ideas about self-perfection, practicality, and the austere elegance associated with Shaker material culture and religious practice took hold. These ideas entered more strongly into the American consciousness following a string of influential exhibitions and books, many of them organized and authored by those outside of Shaker communities (what Shakers refer to as “the world”). 

“Whereas artists were attracted initially to the sense of perfection and simplicity they associated with Shaker furniture, many artists today find in the Shakers a model for living otherwise at a time of radical social transformation,” said De Blois. “Long-held Shaker values like communal living, pacifism, shared property, and gender and racial equality are appealing for many artists—ideas that Believers traces from The Quiet in the Land to artists responding to the Shaker legacy in their work today.”  

Believers presents selected works from The Quiet in the Land alongside more recent works by Jonathan Berger and Cauleen Smith. Taylor Davis, Gordon Hall, and Pallavi Sen have made new works for the exhibition. Examples include:  

  • Community Threshold (1997–2024), a found object sculpture by New York-based artist Nari Ward. Previously presented in The Quiet in the Land, this assemblage originally combined a child’s cradle, elements of a porch from Sabbathday Lake, and two banisters from a church in Harlem. The material conversation held by the sculpture between elements of the Shaker built environment and Harlem church banisters reflects Ward’s own consideration of his Baptist upbringing alongside his experience living with the Shakers. However, only a portion of the original sculpture survived after The Quiet in the Land. For Believers, Ward remade the sculpture around what remained, transforming it in the process by adding new materials such as children’s cots, bed springs, and lecterns. Elements of the sculpture are bound with strips of burlap that suggest techniques of Shaker basket making, while two washbasins with inset mirrors feature scattered soil recently collected from the grounds of Sabbathday Lake. Remaking the sculpture allowed the work to grow with him, mirroring the lasting impact that his time at Sabbathday Lake among the Shakers had on his life. 
  • Communion (1996/2025) by New York-based artist Kazumi Tanaka was made following her 1996 residency at Sabbathday Lake. Tanaka was inspired by the everyday rituals of communion, such as shared meals in the dining room of the dwelling house. Tanaka memorialized this experience in the form of an installation composed of two tables and a clock, all made meticulously by hand. Inlaid into the top of the tables—which evoke the separate tables for men and women in the dining room—are metal trays filled with water. The plates float on the surface of the water, evoking the presence of the Shakers sharing a meal, just as the ticking clock with no hands evokes the passage of time, which Tanaka observed passed “more carefully” at the village. Here, Tanaka also included an anamorphic door that sits permanently ajar. Conceived in 1996 but not shown until 2025, the door alludes to Shaker founder Mother Ann Lee’s sentiment that the Shakers should open the windows and doors to receive whoever will arrive, a spirit of openness and generosity Brother Arnold Hadd carries forward at Sabbathday Lake today. 
  • Pilgrim (2017) is a short film by Los Angeles-based filmmaker and artist Cauleen Smith. Against the backdrop of a live recording of Alice Coltrane performing “One for the Father,” Smith combines ecstatic footage from three inspired sites: Alice Coltrane’s Sai Anantam Ashram (founded in 1983 though lost to a California wildfire in 2018); Simon Rodia’s Watts Towers (a collection of seventeen interconnected sculptural towers built between 1921 and 1954 in Los Angeles, and designated a National Historic Landmark in 1990); and the Watervliet Shaker Village (the first Shaker settlement in America, established in 1776 in Albany County, New York). Presenting these three unique places on a continuum, Smith’s approach in Pilgrim traces lines between Shaker placemaking and other important sites of spiritual practice in America. 
  • In Jonathan Berger’s text-based, sculptural installation An Introduction to Nameless Love—Untitled (Brother Arnold Hadd, with Sarah Workneh), Brother Arnold Hadd of Sabbathday Lake Shaker Village was one of six protagonists interviewed on the subject of “nameless love,” a term the artist uses to describe nonromantic forms of love. After extensive conversations with Brother Arnold, the transcripts were edited and condensed by Sarah Workneh, Berger’s collaborator and the former codirector of Skowhegan School of Painting and Sculpture, located in Maine near Sabbathday Lake. Berger then cut the text letter by letter from tin and reassembled them into a wall-size, text-based sculpture with doors on either side—a reference to the Shaker separation of genders reflected in their architectural forms. In the text, Brother Arnold describes how, for the Shakers, labor is a spiritual expression of divine love. This labor of love is likewise expressed in Berger’s meticulously crafted sculpture.

Media Contact  
Theresa Romualdez, press@icaboston.org