“Manuel Chavajay: Xojowi ja qa tee ruachulew” (Mother Earth Dances)

Apr 30 – Nov 22, 2026

Ground Floor

“Manuel Chavajay: Xojowi ja qa tee ruachulew” (Mother Earth Dances) is the first one-person institutional exhibition of the Tz’utujil Maya artist Manuel Chavajay (b. 1982, San Pedro La Laguna, Guatemala, where he lives). The exhibition presents eleven works produced over the past three years, including paintings made with marine oil and featuring traditional embroidery patterns depicting the landscape around Lake Atitlán, intervened earthenware pots, and remnants of site-specific performances. Together, the works focus on two important themes that have developed in Chavajay’s work: a growing concern over the increased pollution of Lake Atitlán in the Guatemalan Highlands, where the Tz’utujil live, and an ongoing meditation on the connection of the land to the cosmos, as understood in Tz’utujil ancestral knowledge.

Making Tz’utujil language and land a frequent reference in his work, Chavajay connects them to the complex history of Guatemala, its indigenous heritage, its incomplete and compressed modernization, and more recent efforts toward stability and development. Land—including Lake Atitlán—in the context of his work is understood not as a resource to extract or as an inert ground but as a core aspect of indigenous identity, tracing historical connections, cultural practices, and ancestral legacies. For Chavajay, the definition of land itself is capacious. Along with the physical territory, the artist is thinking about changes of light and season, cyclically reiterated omens and rhythms, as well as immaterial forces, not least those that take the shape of knowledge-bearing dreams.

Chavajay’s work has been presented at institutions such as El Museo del Barrio, New York; Centro Galego de Arte Contemporánea (CGAC), Santiago de Compostela; Casa del Lago UNAM, Mexico City; Manifesta 15, Barcelona; Institute for Studies on Latin American Art (ISLAA), New York; El Espacio 23, Miami; Kunsthalle Wien Museumplatz, Vienna; National Gallery of Canada, Ottawa; and the Museum of Contemporary Art Santa Barbara, California. He has also participated in a number of biennials, including the 35th São Paulo Biennial, Brazil; Bienal SIART, La Paz, Bolivia; the Curitiba Biennial of Contemporary Art, Paraná, Brazil; Bienal de Arte Paiz, Guatemala City, Guatemala; and the Bienal de Artes Visuales del Istmo Centroamericano (BAVIC), held across Guatemala, Nicaragua, Costa Rica, Panama, and El Salvador. Chavajay’s work is in the institutional collections of the Museo Nacional Centro de Arte Reina Sofía, Madrid; Fundación Ortiz Gurdián, León, Nicaragua; and the National Gallery of Canada, Ottawa, among others.

“Manuel Chavajay: Xojowi ja qa tee ruachulew” is presented by the Institute of Contemporary Art, Miami, and curated by Gean Moreno, Director of the Art + Research Center at ICA Miami.

Harmony Korine: Perfect Nonsense

Apr 15 – Oct 18, 2026

Special Exhibition / 3rd Floor

“Perfect Nonsense” is the first US museum survey for the legendary and multifaceted work of Harmony Korine The exhibition traces the full arc of Korine’s career, bringing together over 75 works and situating his practice within a broader continuum of image-making that collapses distinctions between cinema, contemporary art, and popular culture. 

Since entering the public consciousness at nineteen after writing the screenplay for the 1995 generation-defining feature Kids, Korine has been a leading filmmaker. He has continually expanded the language of cinema while redefining notions of the counterculture and exploring novel image-making technologies.

Simultaneously, Korine’s activities have crossed the boundaries of discipline and form, and this exhibition includes the expansive worlds of painting, photography, collage, zines, and drawing that he has created since adolescence. Most recently, Korine has vigorously pursued painting, exploring figuration and abstraction while restlessly experimenting with the technologies of image making, from photocopies to gaming engines. 

From his earliest works, Korine explored themes of the individual and the outsider through a clear-eyed view of class and poverty, celebrity and authenticity, and a fascination with the gothic dimensions of the American South. His perspective is deeply structured by the figure of the American teenager. Some of Korine’s earliest works feature childlike figures and writings, and often explore the coming-of-age genre and its complex unfoldings. These childlike and coming-of-age themes have evolved into a ghostly form he calls “Twitchy,” found in paintings that are produced by combining images captured on an iPhone with painterly techniques. In his films, characters often use avatars, with elaborate masks and new forms of language, to create unprecedented realities. Meanwhile, works from the “Fazer” (2015) and “Chex” (2011–14) series showcase Korine’s investigation of psychedelic effects and escape. Many of Korine’s most recent works, including the films Baby Invasion (2024) and Aggro Dr1ft (2023), demonstrate his pioneering inquiry into technology and its impact on everyday life and the future of images.

Korine has lived in Miami since 2015, where he founded the experimental media company EDGLRD. The city’s visual excess has deeply shaped his recent films and paintings, reframing the American landscape as a delirious and unstable field of images, invention, and myth.

Harmony Korine was born in Bolinas, California, in 1973, and grew up in Nashville, Tennessee. He shot his first film, Gummo, in 1997 and went on to create seven more films, including Mister Lonely (2007), Spring Breakers (2012), The Beach Bum (2019), and Julien Donkey-Boy (1999), among others. He has shot music videos for Rihanna, Sonic Youth, Will Oldham, Cat Power, and the Black Keys. Korine was the subject of a major exhibition at the Centre Pompidou, Paris (2017), and has exhibited at institutions worldwide, including the Stedelijk Museum voor Actuele Kunst (S.M.A.K.), Ghent, Belgium; Whitney Biennial, New York; CAPC Musée d’art contemporain de Bordeaux, France; Contemporary Art Gallery, Art Tower Mito, Japan; 50th Biennale di Venezia; Kunsthalle Düsseldorf, Germany; Swiss Institute, New York; Casino Luxembourg–Forum d’art contemporain, Luxembourg; and Vanderbilt University Fine Arts Gallery, Nashville.

“Harmony Korine: Perfect Nonsense” is organized by the Institute of Contemporary Art, Miami, and curated by Alex Gartenfeld, Irma and Norman Braman Artistic Director, and Gean Moreno, Director of the Art + Research Center, with research assistance from Donna Honarpisheh, Associate Curator, Art + Research Center at ICA Miami.

First Solo U.S. Museum Exhibition of Manoucher Yektai Opens at Institute of Contemporary Art, Miami.

Landmark presentation brings together over 30 paintings, including rarely seen works from the 1940s

Installation view: “Manoucher Yektai: The Stranger and the Tree” at the Institute of Contemporary Art, Miami, April 30-November 22, 2026. Photo: Chris Carter.

The first solo U.S. museum exhibition of major Abstract Expressionist Manoucher Yektai is now on view at the Institute of Contemporary Art, Miami (ICA Miami), offering a new perspective on a singular voice within the movement. Manoucher Yektai: The Stranger and the Tree traces four distinct series created between 1948 and 1963,bringing together approximately 30 paintings that chart the artist’s evolution from surrealist-inflected abstraction to his signature gestural style, including rarely seen works from 1948-1949. Curated by Donna Honarpisheh, Associate Curator at ICA Miami, the exhibition takes its title from a 2005 poem by the artist and is on view through November 22, 2026.

A founding member of the New York School, Yektai is known for his richly impastoed canvases, which move fluidly between still life, landscape, portraiture, and color field. His work balances expressive mark-making with a sustained engagement in representation, charting a distinctive course in postwar art. Drawing on Iranian mystical poetry, Persian rugs, calligraphic forms, domestic table settings and flora, and Yektai’s paintings synthesize Iranian and American visual vocabularies alongside Parisian modernism and gestural painting. The result is a deeply personal yet transnational vision within the New York School.

“Yektai’s work expands the history of Abstract Expressionism by foregrounding a transnational perspective that bridges Iranian and American visual traditions,” said Alex Gartenfeld, ICA Miami’s Irma and Norman Braman Artistic Director. “This exhibition reflects ICA Miami’s commitment to advancing scholarship on artists whose contributions have not yet been fully recognized within the canon.”

The exhibition opens with rarely seen paintings from 1948–49, rendered in earthly tones characteristic of Yektai’s early period. Featuring flowing organic forms and sinuous lines that evoke calligraphic abstraction and mystical symbolism, these works establish the artist’s early formal concerns while dissolving distinctions between ground, depth, surface, and subject. The presentation continues with heavily impastoed works from the 1950s—paintings that verge on sculpture in their physicality and three-dimensional presence.

Yektai’s figurative works, developed in the early 1950s and sustained throughout his career, challenge the conventions of portraiture by blurring the boundary between figuration and abstraction. Through layered marks and expressive smears, his subjects defy representational likeness while remaining emotionally resonant. The exhibition concludes with naturalistic abstractions from 1959 to 1963, lyrical compositions of flowers, plants, and landscapes built through repeated diagonal strokes. Yektai’s landscapes are characterized by the dissolution of the genre’s horizon line, allowing trees and organic structures to emerge from dense fields of gesture. This destabilization of ground echoes the artist’s cosmopolitan and diasporic experience.

“Manoucher Yektai’s work occupies a singular place in the history of postwar painting, at once deeply rooted in the language of abstraction while remaining committed to domestic scenes and rituals of everyday life. Grounded in his engagement with Persian poetry, his practice articulates a poetics of solitary witness that unfolds across his early works, still lifes, figural compositions, and landscapes.” said Associate Curator Donna Honarpisheh. “This exhibition offers an opportunity to reconsider his contributions not only within Abstract Expressionism, but within a broader, more global history of modern art.”

Exhibition Support
Exhibitions at ICA Miami are supported by the Knight Foundation. Major support is provided by the Nicoll Family Fund. Additional support is provided by Karma and Farhang Foundation.

Sustainability Commitment
ICA Miami is committed to reducing its climate footprint by adopting best practices for sustainability and partnering with organizations that focus on conservation. As part of this effort, ICA Miami has adopted sustainable shipping methods for all exhibitions and implements carbon offsets for select major exhibitions. ICA Miami is also the first museum in Florida to support the use of renewable energy and the growth of the sector. The museum matches 100% of its electricity consumption through the procurement of Renewable Energy Certificates (RECs).  In 2020, the museum was among the original grantees for the first Frankenthaler Foundation funding for sustainability efforts in the arts.

About the Institute of Contemporary Art, Miami
The Institute of Contemporary Art, Miami (ICA Miami) is dedicated to promoting continuous experimentation in contemporary art, advancing new scholarship, and fostering the exchange of art and ideas throughout the Miami region and internationally. Through an energetic calendar of exhibitions and programs, and its collection, ICA Miami provides an important international platform for the work of local, emerging, and under-recognized artists, and advances the public appreciation and understanding of the most innovative art of our time. Launched in 2014, ICA Miami opened its new permanent home in Miami’s Design District in 2017, and in 2024 announced its expansion with the acquisition of a second site on the same block at 23 NE 41st Street in the Miami Design District, set to open in 2027. The museum’s central location positions it as a cultural anchor within the community and enhances its role in developing cultural literacy throughout the Miami region. The museum offers free admission, providing audiences with open, public access to artistic excellence year-round.

The Institute of Contemporary Art, Miami is located at 61 NE 41st Street, Miami, Florida, 33137. For more information, visit www.icamiami.org or follow the museum on Instagram and explore the ICA Miami Channel for inside looks at ICA Miami exhibitions and the practices of the most exciting artists working today.

Kara Walker: The Shadow of History and the Ethics of Visibility — Revealing What History Tried to Erase

Kara Walker’s artistic proposal stands as one of the most radical and intellectually uncompromising interventions in contemporary art. Through silhouettes, monumental installations, sculpture, film, and architectural environments, Walker forces audiences to confront the traumatic foundations of American history without the comforting filters of nostalgia, patriotism, or historical euphemism. Her work does not seek to aestheticize violence, nor to sensationalize suffering. Rather, Walker constructs a visual language designed to expose what dominant historical narratives have systematically attempted to conceal: the psychological, racial, and sexual violence embedded within the cultural construction of the United States.

Walker’s genius lies in her ability to transform historical memory into a theatrical and immersive experience. Her iconic cut-paper silhouettes initially appear deceptively elegant, recalling the refined domestic portraiture popular during the eighteenth and nineteenth centuries. Yet this visual familiarity quickly collapses. As viewers approach the works, scenes of brutality, sexual exploitation, racial caricature, and grotesque power relations emerge with disturbing clarity. Walker weaponizes the silhouette itself, a medium historically associated with decorum and social refinement, transforming it into a mechanism of historical revelation.

What Walker ultimately seeks is not simply to represent slavery, but to reveal how its psychological structures continue to inhabit the present. Her installations operate as spaces of discomfort where viewers become implicated within the narrative. In works such as Darkytown Rebellion or Insurrection!, the spectator’s own shadow merges with the projected imagery, dissolving the safe distance between observer and history. The audience is no longer external to the violence; it becomes part of the visual and moral architecture of the work.

This is why Walker’s proposal cannot be reduced to political provocation alone. Her work functions as a critical archaeology of visual culture. She dismantles the sentimental mythology of the antebellum South and exposes how popular imagery, literature, monuments, and historical narratives have sanitized slavery into a consumable fiction. Pieces such as Gone: An Historical Romance of a Civil War… parody the romanticized imagery of the Old South, revealing beneath its aesthetic surface a theater of coercion, domination, and abuse.

Walker’s monumental works further expand this critique. In A Subtlety, the colossal sugar sphinx installed in Brooklyn’s former Domino Sugar Factory transformed sugar itself into a material witness to histories of colonial exploitation, forced labor, and transatlantic commerce. Likewise, Fons Americanus reimagined imperial monumentality as a counter-history of the Atlantic world, centering drowned bodies, displacement, and racial violence rather than triumphalist narratives of empire.

What makes Kara Walker’s artistic proposal so profoundly important is that she insists history is not finished. The past is not distant; it continues to structure contemporary consciousness. Her work asks viewers to inhabit the “queasy space” between memory and denial, forcing society to recognize the invisible psychological injuries inherited through generations of racial violence.

Walker does not offer redemption or easy reconciliation. Instead, she asks us to see clearly — perhaps for the first time — what really happened, and to understand how deeply those histories continue to shape the present. Her art becomes both accusation and mirror: a theater of shadows where collective memory can no longer hide from itself.

Crochet — From Ancestral Loop to Contemporary Structure

Crochet, the technique of creating textiles through the interlocking of loops using a single hook, occupies a unique position within the history of fiber arts. Unlike weaving or knitting, crochet is built from a continuous line—one thread, one hook, one evolving structure. From its uncertain ancestral origins to its contemporary expansion into sculpture, mathematics, and social practice, crochet has transformed from domestic craft into a critical language of contemporary art.

Origins Without a Single Origin

The history of crochet is not linear but diffuse and trans-cultural. While the term “crochet” appears in Europe in the early 19th century, its technical logic—looping thread with a hooked tool—likely evolved from earlier practices such as tambouring, found across China, Turkey, India, and North Africa.

Some historians trace similar looping techniques even further back, suggesting parallel developments in ancient China, Egypt, and South America. This multiplicity of origins situates crochet not as a singular invention, but as a recurring human solution to structure through flexibility.

By the 19th century, crochet had become widely established in Europe, particularly as a lace-making technique. Irish crochet, developed during the Great Famine, became both an economic lifeline and a refined aesthetic practice, demonstrating how textile labor could intersect with survival and global trade.

The Logic of the Loop

Technically, crochet differs fundamentally from other textile systems:

• it uses a single hook rather than multiple needles
• it builds structure through interlocking loops, one at a time
• it allows for continuous expansion, contraction, and improvisation

This gives crochet a distinct conceptual quality. Where weaving is grid-based and macramé is knot-based, crochet is loop-based—fluid, organic, and inherently adaptable.

Its basic stitches—chain, single crochet, double crochet—function as modular units, capable of generating both flat surfaces and complex volumetric forms. This flexibility has made crochet uniquely suited to contemporary experimentation.

Domesticity and Its Discontents

For centuries, crochet was embedded within the domestic sphere—associated with decoration, clothing, and household textiles. Like embroidery, it was historically feminized and marginalized within art history.

Yet this marginalization became a site of critical reversal. In the 20th century, particularly from the 1960s onward, artists began reclaiming crochet as a medium of resistance and redefinition, challenging the boundaries between craft and fine art.

The rise of freeform crochet—unconstrained by patterns or repetition—marked a decisive break from tradition. It introduced irregularity, improvisation, and abstraction, aligning crochet with broader movements in contemporary art.

Crochet in Contemporary Art: Structure, Space, and System

In contemporary practice, crochet has expanded far beyond its traditional applications. It now operates as:

• sculpture
• installation
• social practice
• scientific and mathematical modeling

Artists use crochet to construct complex three-dimensional forms, exploring tension, gravity, and organic growth. Mathematicians have even employed crochet to model hyperbolic geometry—forms that cannot be easily represented through conventional means—demonstrating its capacity to visualize abstract spatial concepts.

Large-scale installations, such as crocheted coral reefs, merge art, science, and environmental activism, transforming crochet into a tool for understanding ecological systems.

Crochet in Public Space and Social Practice

One of the most visible contemporary manifestations of crochet is yarn bombing—the act of covering public objects with crocheted or knitted material. Emerging in the early 21st century, this practice transforms urban space into a site of soft intervention, challenging the visual language of graffiti with textile tactility.

Similarly, community-based projects such as large-scale crocheted installations in public spaces—like those created in Mexico by collective initiatives—demonstrate crochet’s capacity to function as a collective and participatory art form.

In these contexts, crochet becomes less about object-making and more about social connection, shared labor, and communal identity.

Material, Time, and the Hand

Crochet is inherently temporal. Each loop records a gesture; each row accumulates time. This makes the medium particularly resonant in an era dominated by speed and digital production.

Its handmade nature foregrounds:

• labor
• repetition
• care

From a museological perspective, crochet challenges institutions to reconsider value—not in terms of scale or spectacle, but in terms of process and duration.

Crochet as Contemporary Metaphor

In 2026, crochet resonates as a metaphor for:

• networks (interconnected loops)
• growth (expansion from a single point)
• systems (complex structures from simple rules)

It embodies a logic of emergence—where complexity arises from repetition and variation.

Summary, The Endless Thread

Crochet endures because it is both elementary and infinite. From ancestral lace to contemporary installations, it transforms a single thread into complex structures of meaning.

What begins as a loop becomes a surface, a form, a system, a space.

In this sense, crochet is not merely a technique—it is a method of thinking, one that reveals how continuity, variation, and connection can generate forms that are at once intimate and expansive.

In the hands of contemporary artists, crochet is no longer confined to tradition. It is a living, evolving medium, capable of articulating the complexities of our time—one loop at a time.