From the waves to the redwoods, it's all happening here.

Carlos Motta’s When Time Stands Still, the artist’s second solo show with the IAS , features new and recent installations, videos, and sculptures highlighting the artist’s preoccupation with the historical and aesthetic productions of difference and marginalization that shape the present. The selection of artworks in the exhibition explore the unsettling experience of living in a time that seems violently stuck on repeat. Archetypal figures from art history (a fool, a siren, a witness, a victim) reappear in the current moment as containers of time, bringing the past of imperialism, colonization, and displacement into a present marked by the rise of anti-immigration politics, climate injustice, and other forms of disposability. Some works challenge this violent repetition of time. The clock moves, if gruelingly, in an endurance-based video performance, No One , 2025. For forty-six minutes, the artist undertakes to keep his eyes open, witnessing, withstanding, confronting, and resisting the bombardment of images, both historical and otherwise, that normalize harm. In another video work, Gravity , 2024, performers enact rescue carries, supporting each other until they can’t bear the weight. Together, the artworks act as a proposal about how to rethink time—how to slow time—with a poetic and aesthetic cadence that might counter the numbing reverberations of living in the present. When Time Stands Still is organized as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to create a future free of prisons. Carlos Motta (b. 1978, Colombia) is a multidisciplinary artist whose work has been shown widely nationally and internationally. Solo exhibitions venues include the Museu d’Art Contemporani de Barcelona; Nikolaj Kunsthal, Copenhagen; Museo de Arte Moderno de Bogotá; Wexner Center for the Arts, Columbus, OH ; Röda Sten Konsthall, Gothenburg, Sweden; Galeria Vermelho, São Paulo; Pérez Art Museum Miami (PAMM); Tate Modern, London; and

Organized in partnership with the Center for Art and Advocacy, located in Brooklyn, New York, Ni de Aquí, Ni de Allá ( Not From Here, Not From There ) by multidisciplinary artist Victor ‘Marka27’ Quiñonez features a wide range of artworks that issue a bold declaration of dual belonging, including altars, an elaborately immersive botanica, paintings referencing visual symbolism drawn from textiles, graffiti and community traditions, and, in a series called I.C.E. Scream , large, brightly colored resin sculptures in the shape of melting Mexican paletas (popsicles). As the exhibition title suggests (a phrase widely used in bilingual and bicultural communities), these artworks reflect the artist’s interest in the experience of living between worlds even as violent notions of nationalism and identity pervade. Accompanying the exhibition, Elevar la Cultura , an immersive sculptural installation featuring a twenty-two-foot-tall pyramid built from ice coolers adorned with ancestral textiles, sacred symbols, and mural work will be on view at Santa Cruz Barrios Unidos (1817 Soquel) November 7, 2026- March 7, 2027. As Quiñonez explains, this sculpture epitomizes the contradictions of living—and laboring—as an immigrant in the United States: “Most people see the cooler as a tool for leisure…for barbecues, tailgating, and celebrations. But for immigrant communities, the cooler is a tool and symbol for opportunity and independence. In every major city, you see families and vendors selling fruit, food, and water out of these coolers on the streets and in subway stations. They’re a necessity for survival and a way to start an honest living,” the artist shares. The Institute of Arts and Sciences will be the second venue to successfully present Ni de Aquí, Ni de Allá to the public. First organized by Boston University Art Galleries and curated by Kate Fowle in September of 2025, the exhibition debuted to critical acclaim before gaining national attention after its abrupt removal from

The Institute of the Arts and Sciences invites you to a screening of the video-performance Under the Mantle of an Idocile Dream (Bruna Castro, Brasil, 2026), followed by a conversation between Denise Carrascosa and Gina Dent around the historical, political and spiritual relations between Afro-Brazilian ancestrality, visual arts and abolition feminism in Brazil. Denise Carrascosa is a writer, lawyer, and full professor of literature at the Federal University of Bahia, in Brasil. She holds a Ph.D. in Theory and Criticism of Literature and Culture (UFBA) and completed postdoctoral studies in the History of Slavery in Brasil (UFRB). In 2010, she launched the abolitionist project Indocile Bodies and Free Minds: an art-education program for literary writing at the Women’s Prison Complex in Bahia, where she established, together with sentenced women inmates, the Free Minds Library (2012), enabling Sisters inside to access sentence remission through reading. Gina Dent is Professor of Humanities and Faculty Director of the Institute of the Arts & Sciences at the University of California, Santa Cruz, where she has won awards for her teaching (Dizikes Faculty Teaching Award), advocacy (Chancellor’s Award for Diversity), and research (Innovator of the Year). Currently, she serves as Principal Investigator and Co-Director for Visualizing Abolition , a multidisciplinary project—involving exhibitions, events, fellowships, and academic programs—addressing the global crisis of incarceration through art and visual culture. Her recent collaborative projects grow out of her decades-long work as a social justice advocate— Abolition. Feminism. Now. (co-authored with Angela Davis, Erica Meiners, and Beth Richie, Haymarket 2022), and Seeing through Stone (exhibition catalog, Marquand 2024). She works with several organizations nationally and internationally, including Columbia University’s Center for Justice and Australia’s Sisters Inside, primarily on justice-related concerns.

Organized in partnership with the Center for Art and Advocacy, located in Brooklyn, New York, Ni de Aquí, Ni de Allá ( Not From Here, Not From There ) by multidisciplinary artist Victor ‘Marka27’ Quiñonez features a wide range of artworks that issue a bold declaration of dual belonging, including altars, an elaborately immersive botanica, paintings referencing visual symbolism drawn from textiles, graffiti and community traditions, and, in a series called I.C.E. Scream , large, brightly colored resin sculptures in the shape of melting Mexican paletas (popsicles). As the exhibition title suggests (a phrase widely used in bilingual and bicultural communities), these artworks reflect the artist’s interest in the experience of living between worlds even as violent notions of nationalism and identity pervade. Accompanying the exhibition, Elevar la Cultura , an immersive sculptural installation featuring a twenty-two-foot-tall pyramid built from ice coolers adorned with ancestral textiles, sacred symbols, and mural work will be on view at Santa Cruz Barrios Unidos (1817 Soquel) November 7, 2026- March 7, 2027. As Quiñonez explains, this sculpture epitomizes the contradictions of living—and laboring—as an immigrant in the United States: “Most people see the cooler as a tool for leisure…for barbecues, tailgating, and celebrations. But for immigrant communities, the cooler is a tool and symbol for opportunity and independence. In every major city, you see families and vendors selling fruit, food, and water out of these coolers on the streets and in subway stations. They’re a necessity for survival and a way to start an honest living,” the artist shares. The Institute of Arts and Sciences will be the second venue to successfully present Ni de Aquí, Ni de Allá to the public. First organized by Boston University Art Galleries and curated by Kate Fowle in September of 2025, the exhibition debuted to critical acclaim before gaining national attention after its abrupt removal from

Carlos Motta’s When Time Stands Still, the artist’s second solo show with the IAS , features new and recent installations, videos, and sculptures highlighting the artist’s preoccupation with the historical and aesthetic productions of difference and marginalization that shape the present. The selection of artworks in the exhibition explore the unsettling experience of living in a time that seems violently stuck on repeat. Archetypal figures from art history (a fool, a siren, a witness, a victim) reappear in the current moment as containers of time, bringing the past of imperialism, colonization, and displacement into a present marked by the rise of anti-immigration politics, climate injustice, and other forms of disposability. Some works challenge this violent repetition of time. The clock moves, if gruelingly, in an endurance-based video performance, No One , 2025. For forty-six minutes, the artist undertakes to keep his eyes open, witnessing, withstanding, confronting, and resisting the bombardment of images, both historical and otherwise, that normalize harm. In another video work, Gravity , 2024, performers enact rescue carries, supporting each other until they can’t bear the weight. Together, the artworks act as a proposal about how to rethink time—how to slow time—with a poetic and aesthetic cadence that might counter the numbing reverberations of living in the present. When Time Stands Still is organized as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to create a future free of prisons. Carlos Motta (b. 1978, Colombia) is a multidisciplinary artist whose work has been shown widely nationally and internationally. Solo exhibitions venues include the Museu d’Art Contemporani de Barcelona; Nikolaj Kunsthal, Copenhagen; Museo de Arte Moderno de Bogotá; Wexner Center for the Arts, Columbus, OH ; Röda Sten Konsthall, Gothenburg, Sweden; Galeria Vermelho, São Paulo; Pérez Art Museum Miami (PAMM); Tate Modern, London; and