Topic: Caribbean

Charo Oquet leads a colorful Rará-inspired procession, wearing a vibrant costume of multicolored fabric and a feathered headdress while carrying a pink flag. Community members gather around her, joining the festive performance through music, movement, and shared participation.

Learning in Procession: Charo Oquet and the School of Rará

Luis Graham Castillo

Ten brightly colored textile works hung with clothespins on stacked clotheslines that form four rows across two adjacent walls.

A Pedagogy of Hope: Pagán and Pietri in Nitza Tufiño’s Tenderete

Teréz Iacovino

This image shows the installation of “Babalú-Ayé y La Negra del Hospital” (2022) at the Fridman Gallery in New York. In a dark room, there are three large panoramic projections on adjacent walls surrounding a small sculpture composed of cinder blocks decorated with cowrie shells placed in the off-center right side of the gallery. The video, still on the left side, shows a Black woman with a white headpiece with cowrie shells looking directly at the viewer. In the center there is a figure dancing in the middle of colonial architecture structures. The image to the far right shows three figures dressed in ceremonial attires that display Black diasporic culture. One of the figures is sitting on a rocking chair while the other two people stand facing forward.

Bearing Her to the Present:
Yelaine Rodriguez and the Un-Ghosting of Afro-Dominican Identity

María Elena Ortiz

A wooden desk staged as a detective’s workstation: a vintage teal typewriter at right, a stand of pale-blue date-labeled file folders at center, and across the surface a yellow legal pad of handwritten notes, newspapers, round sunglasses, business cards printed with a WhatsApp number, and an open folder showing a flyer that reads “Looking for Witnesses! Dominican, do you consider yourself Black or Indio? Did migrating change your perspective?”

The Investigator’s Folder:
Curriculum as Form in Lizania Cruz’s The Investigation of the Dominican Racial Imaginary

Alex Feliciano Mejía

Nine rectangular handmade bars of soap arranged in two rows on a white display surface in a gallery setting. Each bar is composed of layered colors, primarily deep blues, bright turquoises, reds, and dark browns, giving them a striated, geological appearance. Each bar is embossed with a word pressed into its surface; visible words include “NEGRE,” “AFRO,” and “BLACK.” The bars vary slightly in color combination and show traces of organic material embedded within the glycerin. Their handmade quality is evident in the slight irregularities of their surfaces and the uneven distribution of color and herbs throughout each bar.

Material Memory: Francheska Alcántara’s Pedagogy of the Archive

Denisse Brito

Round glass forms are suspended from a series of mobiles in a gallery. The forms vary in color and shape, including teal, blue, brown, black, and orange with colorful accents.

To Breathe Full and Free: Abstraction and Reprieve in María Magdalena Campos-Pons’ The Rise of the Butterflies

Kaillee Coleman

Fragmented cut-outs of women’s body parts are suspended in air, some of which are photographs, and others of which feature silhouetted forms covered in tropical floral prints.

The Construction of Paradise: Joiri Minaya’s Subversion of Colonial Encounters within Caribbean Tourism

Bettina Pérez Martínez

A person with dark skin wearing a yellow dress is sitting and pulls an opaque plastic helmet over their face. They are surrounded by small video screens and tropical foliage.

Las Nietas de Nonó: Ilustraciones de la Mecánica and Spaces of Refusal

Estefanía Vallejo Santiago

Casa-Isla/House-Island: Edra Soto’s Reimagining of Insularity

Elizabeth Mirabal

Colonial Atmospheres: On Sofía Gallisá Muriente’s Celaje

Maria Zazzarino