A.I.M’s performances have been postponed until April 15–17, 2022 in light of the current Covid surge in Boston. Current ticket holders will be contacted by email with more information.

 

Kyle Abraham is one of the most acclaimed and sought after choreographers making dance today. A MacArthur “genius” Fellow, Abraham has created and presented work at Alvin Ailey Dance Center, the Brooklyn Academy of Music, Jacob’s Pillow Dance Festival, Harlem Stage, and other stages across the world. He has collaborated with a range of artists including dancers Misty Copeland and Wendy Whelan, musician Sufjan Stevens, and Beyonce.  

Before purchasing tickets to the museum, please note, per the City of Boston, beginning Saturday, January 15, people age 12+ must show proof of a Covid-19 vaccine to enter the ICA. More details here

Accessibility

The ICA is pleased to offer closed captioning and assistive listening devices for programs that take place in the Barbara Lee Family Foundation Theater. Assistive Listening Devices are also available at the theater door. Captioning will be available via a QR code at the theater entrance and once accessed, captioning will be available on your phone. Staff will be on hand in the theater to assist you if necessary. Learn more about accessibility at the ICA. 

 


Commissioning support for An Untitled Love comes from American Dance Festival with support from the Doris Duke/SHS Foundations Award for New Works; August Wilson African American Cultural Center; Brooklyn Academy of Music; Houston Society for Performing Arts; Jacob’s Pillow Dance Festival; The Performing Arts Center at Purchase College, Director Seth Soloway; Seattle Theater Group; and White Bird, Portland, Oregon, made possible through White Bird’s 2020 Barney Choreographic Prize. 

The presentation of A.I.M.’s An Untitled Love was made possible by the New England Foundation for the Arts’ National Dance Project, with lead funding from the Doris Duke Charitable Foundation and The Andrew W. Mellon Foundation.

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This performance is supported, in part, by the David Henry Fund for Performance