In Listening All Night To The Rain, Sir John Akomfrah presents the US premiere of the critically acclaimed eight-canto work first unveiled at the British Pavilion during the sixtieth Venice Biennale. For its New York presentation, Akomfrah introduces a focused iteration of the project, debuting the central multi-channel film, Canto VI (2024), and reshaping the work’s structural inheritance into a cinematic experience tailored to this context. Here, the canto becomes an audiovisual vessel organizing colonial archives, diasporic memory, Black Atlantic and climate histories. 

Isaac Julien does not create spectacle for its own sake, nor harmony as a kind of prettiness. He creates a system that proliferates, disperses, and destabilizes, and then, momentarily, returns to center.

On entering Joy Gregory’s survey show Catching Flies with Honey, a compelling proposition awaits the viewer in the form of Salamanca (1992), a seven-foot-tall photographic portrait of the artist with her back to the camera, one hand on a metal rail, and head tilted low as if peering into a courtyard or an expanse.