Read Catharine Clark's full press release in the attached PDF.
Sandow Birk's imagined civic monuments revisit foundational American texts and democratic ideals, exposing the exclusions embedded within the nation's history while imagining more expansive futures. Athena LaTocha's monumental works made from earth, sediment, and industrial materials examine land as a site of memory, extraction, and ecological transformation.
daaPo Reo's sculptural works draw on his experience as a Nigerian immigrant and American citizen, transforming national symbols into meditations on visibility, citizenship, and the labor of belonging. Stephanie Syjuco's Block Out the Sun, Applicant Photos, and Better America interrogate archives, photography, and systems of documentation, revealing how histories are constructed, preserved, and contested.
Zeina Barakeh's animated videos merge mythology, technology, political resistance, and speculative futures to imagine new forms of collective identity and survival. Nate Lewis's intricately carved paper works investigate embodiment, migration, transformation, trust, and interdependence through imagery drawn from anatomy, movement, and the natural world.
Hiba Kalache's paintings explore memory, displacement, intimacy, and relation through layered surfaces informed by domestic space, family histories, and lived experience.
Arleene Correa Valencia's textile-based works draw on family photographs and migration histories to examine separation, care, resilience, and the sustaining power of memory.
For the opening reception, Wura-Natasha Ogunji will create a live drawing-performance that transforms language into an embodied act of repetition and negotiation, asking how meaning—and belonging—is continually made and remade through the body.
At the scale of public memory, Deborah Oropallo and Andy Rappaport's installations REBELLION and RECKONING examine protest, monuments, civic space, and collective resistance. Oropallo's photomontage Carousel further reimagines toppled monuments as symbols of historical revision and democratic possibility.
Together, the artists in Double Bind reveal belonging not as a fi xed achievement but as an ongoing process shaped by memory, migration, care, visibility, resistance, and imagination. The exhibition off ers no singular answer to the question of belonging, yet it maintains an enduring faith in art's capacity to expand how we understand ourselves, one another, and the worlds we inhabit.
