In a world that feels more constricted with climate catastrophes and social restrictions, how does one lift? How does one get beyond the borders of a compressed body, a compressed language of the self? How does one begin to transcend to a space of release, to a space of flow, to a space of euphoric joy?

Sonya Clark illuminates the profound entanglement between our current moment and the Civil War by putting her body on the line.

The mood is somber and monumental. Blue ink washes over icebergs, enlarged strips of newsprint, and images of Black women.

Yukultji Napangati paints timelines—yellow and orange dots connected by undulations that curve and spiral, submerging the viewer within the immensity of a vibrating sea. Time through lines, and yet outside of time.

PÒTOPRENS is a feast for the eyes. Occupying three floors at Pioneer Works in Brooklyn, the show brings together twenty-five contemporary artists working in different mediums in order to showcase Haitian art, much of which has not previously been displayed in the United States. This breadth is a deliberate curatorial choice; it reflects the city’s geography and the resultant microcosms of artistic communities, and is a confirmation of the vigor and aesthetic prowess of Haiti’s artists.

Mulvey shows us that the power of the gaze operates by producing or reifying distance between the one who watches, who is presumed to have power, and the object of the gaze, who is assumed to lack it.