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

Come enjoy picking your own organic strawberries and/or flowers at the campus farm! When : U-picks will take place on Saturdays from 9am to 12pm, July 11–August 22, or while supplies last. PLEASE NOTE that u-pick will not occur on Saturday, July 4. Where : Free parking will be available in the Hay Barn lot or lot 115/116 during u-pick hours. Please do not park in the dirt lot at the farm’s back gate. Please walk to the check-in table near the strawberries/flowers at the farm to pre-pay and collect your u-pick container(s). We will have directional signage displayed. There is one ADA parking spot on the farm. The UCSC Farm has uneven, hilly terrain. If you require accommodations to fully participate, please email [email protected] and we will do our best to accommodate. Cost: UCSC students with valid ID get 25% off produce. Strawberry pints – $4 each Strawberry flats (12 pints) – $44 Flowers – $25 for 32oz deli container Flower buckets – $75 Payment : Credit card payments only (you will need a smartphone to scan a QR code and enter your card info manually). Dogs are not allowed on the UC Santa Cruz campus (service animals are OK).

Check out Santa Cruz Maker Studios at the Seymour Center. Hands-on Activities include: Build and test a seawall Make a wooden sea creature Ocean-themed 3D kits Create felt ocean ornamentsActivities included with admission. While supplies last.

Get ready to set sail on a storybook adventure! 📚 ✨ It’s the ultimate weekend treat to spark big imaginations, foster a love for nature, and nurture the next generation of ocean heroes! 🌊 🐚 📖 Our friends at Bookshop Santa Cruz have hand-selected a collection of books about the environment that are perfect for young readers. We hope to see you there! Join Seaside Storytime on the second Saturday of every month!

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

Wing Chun martial arts classes with instructor Marcus at The 418 Project in Santa Cruz, meeting multiple times per week.

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

Through music, arts, food, storytelling, and intentional relationship-building, Bienvenida cultivates comunidad while honoring El Centro’s mission of affirming Chicanx and Latine communities. Open to all UCSC students, Bienvenida is sponsored by El Centro : Chicanx Latinx Resource Center, Kresge and Porter Colleges, and the Center for Leadership and Involvement. RSVP: bit.ly/BIENVENIDA-26 You Belong Here: The programs and services described here are open to all, consistent with state and federal law, as well as the University of California’s nondiscrimination policies. Every initiative—whether a student service, faculty program, or community event—is designed to be accessible, inclusive, and respectful of all identities. To learn more, please visit UC Nondiscrimination Statement or Nondiscrimination Policy for UC Publications .

Bookshop Santa Cruz and The Humanities Institute welcome Min Jin Lee, the National Book Award finalist and New York Times bestselling author of Pachinko , who returns with American Hagwon —a breathtaking contemporary epic, by turns sweeping and intimate, that reckons with ambition and moderation, lust and loyalty, personal dreams and familial duty. “With her gift for wonderfully empathetic storytelling, this is a profoundly generous and humane novel about duty, family, and the dream of a better life…. I was fully absorbed by the fates of the Koh family and, as the novel worked its cumulative magic, deeply moved by this masterful tale of sacrifice, familial devotion, and, ultimately, acceptance.” —Douglas Stuart, author of John of John and Shuggie Bain, winner of the Booker Prize “Min Jin Lee brings grand ambition, fierce heart, and the tenderest hope to a novel I didn’t want to end.” —Roxane Gay, bestselling author of Bad Feminist and Hunger In schools and churches, hotel rooms and nail salons, law firms and fried-fish shops; in cramped, dingy apartments and luxury, gated communities, the men, women, and children in American Hagwon struggle to find satisfaction and meaning in a world that seems to grow less forgiving with each passing year. Once comfortably middle class in Korea, John and Helen Koh and their three children—Bo, DH, and Mido—find their lives upended, first by a shocking betrayal by John’s oldest friend, then by the 1997 Asian financial crisis. Desperately striving to regain their footing, they leave Seoul for Sydney and eventually settle in Southern California—where new vistas of opportunity open up for the children as their parents, strangers in a strange land, must adjust to a new life in which their experience and education mean little, and they set their sights on whatever it takes to provide for their children’s futures. The Kohs, their friends, relatives, and even their foes move in and out of each other’s lives as they navigate new courses acro