Upcoming Exhibitions and Galleries

Current Exhibitions

Please contact Public Relations to verify titles and dates before publication: pr@mfa.org.

Upcoming Exhibitions and New Galleries

Robert Frank: Mary's Book

Herb Ritts Gallery (Gallery 169)
December 21, 2024–June 22, 2025

Celebrating the centennial of photographer Robert Frank’s (1924–2019) birth, this exhibition features the personal scrapbook he made for his first wife, titled Mary’s Book. Created in 1949 for Mary Lockspeiser, the album consists of 74 small photographs with Frank’s written inscriptions. They reveal his appreciation for the poetic resonance of objects and spaces. Many of the photographs are devoid of people, although their presence is felt everywhere. He muses on the chairs and streets of Paris with messages interspersed for Mary. The book is a reflection on solitary contemplation that reads like a lyrical poem and compelling personal photographic sequence.

This one-of-a-kind, handmade album represents a formative moment in Frank’s career as he experiments with text and image juxtaposition. Robert Frank: Mary's Book includes a selection of spreads from the scrapbook in the Museum's collection as well as photographs Frank took in Paris, on loan from the artist’s foundation.

A publication based on the exhibition will be published in early 2025, written by Kristen Gresh, the MFA’s Estrellita and Yousuf Karsh Senior Curator of Photographs and Stuart Alexander, a Robert Frank scholar. This is the first time Mary’s Book will be fully reproduced.

Landscape and Labor: Dutch Works on Paper in Van Gogh’s Time

Clementine Brown Gallery (Gallery 170)
December 21, 2024–June 22, 2025

Although Vincent van Gogh (1853–1890) is today perhaps the most famous Dutch artist of all, in his own time he was relatively little known, especially when compared to artists of the Hague School. This group, named for the city where many of its members trained and worked, was comprised of those who had different styles but shared a devotion to the depiction of everyday life, looking to the Dutch countryside for their subjects and themes. The Hague School artists achieved international fame, and in the early 1900s US collectors and museums—including the MFA—eagerly sought their works. But over the decades the group’s fame faded.

Landscape and Labor: Dutch Works on Paper in Van Gogh’s Time presents the Hague School at its best. Visitors can see watercolors, prints, and drawings by artists such as Jan Hendrik Weissenbruch (1824–1903), Anton van Rappard (1858–1892), and Anton Mauve (1838–1888). Though they are not now household names in the United States, these figures had a profound impact on the artists of their time and future generations. Mauve, in particular, played a key role in Van Gogh’s early life and career. Van Gogh himself is also represented here, with two early works.

The Hague School artists focused on farmers, fisherfolk, laborers, mills, canals, and dunes as their subjects, in part to convey a patriotic love of the countryside. In the densely populated and rapidly industrializing Netherlands, rural subjects recalled a simpler time and a simpler way of life—both of which were quickly disappearing. This exhibition shines a light once more on a neglected group of artists who, working in a changing time, captured vanishing ways of life using modern artistic styles as their tools.

Witnessing Humanity: The Art of John Wilson

Lois B. and Michael K. Torf Gallery (Gallery 184)
February 8–June 22, 2025

Born in Roxbury, Massachusetts, John Wilson (1922–2015) is one of Boston’s most esteemed artists. His work, made over the span of 60 years, continues to resonate with the persistent realities of disenfranchisement, racial prejudice, and social injustice.

Witnessing Humanity: The Art of John Wilson is the largest-ever exhibition of Wilson’s work, co-organized by the MFA and the Metropolitan Museum of Art, New York. Featuring approximately 110 works by the artist in a wide range of media—paintings, sculptures, prints, illustrated books, and drawings—the exhibition explores the many ways Wilson called attention to racial, social, and economic injustices through his art.

Challenging both prejudices and omissions, Wilson explored subjects that include anti-Black violence, the civil rights movement, labor, and family life—with a particular focus on fatherhood. Portraits like Julie and Becky (1956–78) and his Young Americans (about 1972–75) suite of life-sized portraits celebrate the essential humanity of Wilson’s family and friends, while other works like Deliver Us from Evil (1943) and The Trial (1951) depict the heinous impact of systemic prejudice and racism. Wilson’s work speaks to shared experiences, while also displaying his personal search for identity as an artist, Black man, parent, and American.

A significant number of the works in the exhibition are drawn from the MFA’s collection, including a number of early self-portraits and depictions of Martin Luther King, Jr. The centerpiece of the Boston presentation of Witnessing Humanity: The Art of John Wilson is a reduced-scale bronze maquette for Eternal Presence, the monumental sculpture installed in 1987 on the grounds of the National Center of Afro-American Artists (NCAAA) in Roxbury. Fondly called the “Big Head” by many local residents, the colossal sculpture was described by Wilson as “an image of universal dignity.”

As an artist and teacher, Wilson’s generosity as a mentor and dedication to producing positive changed inspired generations of art students in Boston. His impact on the city is explored further through community involvement in the exhibition planning process, the accompanying publication, and public programs that take place during the run of the exhibition.

Van Gogh: The Roulin Family Portraits

Ann and Graham Gund Gallery (Gallery LG31)
March 30–September 7, 2025

Between 1888 and 1889 during his stay in Arles, in the south of France, Vincent van Gogh (1853–90) created a number of portraits of a neighboring family—the postman Joseph Roulin; his wife, Augustine and their three children: Armand, Camille and Marcelle. Van Gogh’s tender relationship with the postman and his family, and his groundbreaking portrayals of them, are at the heart of this exhibition, which is the first dedicated to the Roulin portraits and the deep bonds of friendship between the artist and this family.

Visitors can see more than 20 works by Van Gogh, including the MFA’s iconic portraits Postman Joseph Roulin (1888) and Lullaby: Madame Augustine Roulin Rocking a Cradle (La Berceuse) (1889) as well as important loans from museums such as the Van Gogh Museum in Amsterdam, Museum of Modern Art in New York and Metropolitan Museum of Art. Additionally, key works of earlier Dutch art and Japanese woodblock prints—both of which profoundly informed Van Gogh’s portrait practice—along with new scientific findings provide critical insight into elements of the artist’s creative process, from his painterly touch to his choice of materials. Letters written by Postman Roulin bring to life the deep bond of friendship and a major turning point in Van Gogh’s life, as he moved to a new city and grappled with his mental health. He dreamed of creating a vibrant community of artists in Arles, which led to a visit by fellow painter Paul Gauguin, whose work is included here.

Despite imagining himself as a husband and father, Van Gogh never married or had children. As he came to terms with this, he found comfort in his relationship with the Roulins; his portraits of them capture an intimacy that resonates across place and time in families of all kinds—biological or chosen. This exhibition gives visitors the most in-depth look yet at the emotional underpinnings of some of the beloved artist’s most widely recognized paintings.

Organized in partnership with the Van Gogh Museum in Amsterdam, Van Gogh: The Roulin Family Portraits is accompanied by a forthcoming catalogue from MFA Publications. Relying on letters from the artist, archival material, contemporary criticism, and technical studies, the catalogue features insightful essays on Van Gogh’s practice, his beliefs about portraiture, his personal relationship with the Roulins, and his admiration for his contemporaries as well as 17th-century Dutch portraitists.

Current Exhibitions

Georgia O'Keeffe and Henry Moore

Ann and Graham Gund Gallery
through January 20, 2025

American painter Georgia O’Keeffe (1887–1986) and British sculptor Henry Moore (1898–1986) are among the most distinctive artists of the 20th century. They have long been admired for their extraordinary distillations of natural forms into abstraction—O’Keeffe’s iconic paintings of flowers and Moore’s monumental public sculpture. This major exhibition is the first to bring these two artists into conversation, using compelling visual juxtapositions to explore their common ways of seeing. Each artist experimented with unusual perspectives, shifts in scale, and layered compositions to produce works that were informed by their surroundings—O’Keeffe in New Mexico and Moore in Hertfordshire, England.

Though both O’Keeffe and Moore remained within reach of city life, the two artists worked in rural settings, where they amassed large personal collections of animal bones, stones, seashells, and other natural materials that served as key sources of inspiration. Featuring more than 150 works, "Georgia O’Keeffe and Henry Moore" includes paintings, sculptures, and works on paper, as well as faithful recreations of each of the artists’ studios containing their tools and found objects. The studio installations illuminate the heart of their artistic practice—something rarely made visible in museum spaces—and create richer portraits of O’Keeffe and Moore by encouraging visitors to imagine how they worked and lived.

Organized by the San Diego Museum of Art, the exhibition is an unprecedented collaboration with the Georgia O’Keeffe Museum and the Henry Moore Foundation. In addition to about 90 works by Moore and 60 by O’Keeffe, the MFA’s presentation draws upon the Museum’s modernist collection to put O’Keeffe and Moore in dialogue with other mid-20th century artists active in the U.S. and in Europe—among them Edward Weston, Barbara Hepworth, Arthur Dove, and Jean Arp—all of whom engaged with creating abstraction from nature.

Power of the People: Art and Democracy

Rabb and Foster Galleries, 155 and 156
through February 16, 2025

Opening against the backdrop of the 2024 US presidential election, “Power of the People: Art and Democracy” highlights the ways in which art has played a role in shaping ideas about democracy throughout history and how artists have asked citizens to contemplate democracy’s merits, participate in its practice, and call for improvements. Through 175 works of art, drawn almost entirely from the MFA’s collection and ranging in time from democracy’s origins in ancient Greece to today, visitors can compare past to present and reflect on how certain democratic struggles and concepts have echoed through the ages.

The exhibition features celebrated works, such as the American Revolutionary War–era Sons of Liberty Bowl (1768) by Paul Revere Jr. and Shepard Fairey’s poster series We the People—Are Greater Than Fear (2017), along with lesser-known but influential works of art on view for the first time, including Cyrus Dallin’s 1912 marble relief portrait of Julia Ward Howe, and a French Revolution–era porcelain sundial featuring the new calendar.

With ceramics, coins, inscriptions, paintings, sculpture, prints, photographs, posters, fashion, and more, “Power of the People” invites visitors to reflect on, discuss, create, and participate in the democracy we share.

Tha Sun Will Set: Contemporary Abstraction and the Body

Edward and Nancy Roberts Family Gallery (Gallery LG26)
through April 6, 2025

Comprising nine works by three generations of female artists from the Americas, Tha Sun Will Set: Contemporary Abstraction and the Body draws from the MFA’s collection to trace a lineage of abstract painting spanning seven decades.

The exhibition borrows its title from Christina Quarles’s In 24 Days Tha Sun’ll Set at 7pm (2022), which takes joyful liberty with the traditions of abstraction by experimenting with various painting techniques and ways of depicting figures in a landscape. Quarles’s painting arrived at the MFA in 2023, as part of an initiative to expand the Museum’s works by women, and is on view here for the first time. Also making their public debuts are Marcia Hafif’s Pop-inspired bodily abstraction 153. (1967) and Rose B. Simpson’s early earthenware piece Red (2012).

Paintings by Helen Frankenthaler, Elaine de Kooning, Jacqueline Humphries, Amy Sillman, Elizabeth Peyton, and Cecilia Vicuña round out the display. Taken together, these works offer a compelling look at how 20th-century modernism intersects with depictions of the feminine, the body, and landscape in the art of our time.

Fragments of Self: SMFA at Tufts Juried Student Exhibition

Edward H. Linde Gallery (Gallery 168)
through April 27, 2025

This exhibition brings together work from emerging artists that explores the different aspects of personhood—their own and those of others. The combined work examines the concept of the self: the multifaceted nature of personal identity, the composition of cultures and contexts, and the sum of personal trials and triumphs.

Through painting and sculpture, Maria Cazzato considers the representation of Catholic martyrs to interrogate oppressive contemporary body norms. Ian Choi paints herself among Korean silks and American fabrics to underscore her layered and textured identity—the product of movement between two distinct cultures. Guadalupe Najar’s sculptural pieces reference her ancestors’ material histories and her self-mythologization within equine culture. Intimate and colorful, Bertil Chappuis’s portraits exist in active dialogue with their subjects, encouraging free and fluid interpretations.

Organized with support from Tufts University Art Galleries, Fragments of Self: SMFA at Tufts Juried Student Exhibition is the latest in a series of exhibitions that reflects the Museum’s commitment to the next generation of promising artists and curators. It continues the historic relationship between the Museum and the SMFA, which dates back to the school’s founding in 1876.

Tender Loving Care: Contemporary Art from the Collection

Linde Family Wing for Contemporary Art, Level 2
through July 28, 2025

At their core, creating and looking at works of art are acts of care, from the artist’s labor to the viewer’s contemplation and appreciation. Storage, conservation, and display are also ways of tending to art. This exhibition invites visitors to explore how contemporary artists trace and address concepts of care through their materials, subjects, ideas and processes.

Around 100 works from the MFA’s collection define, depict, and demonstrate many forms of care through five thematic groupings: threads, thresholds, rest, vibrant matter, and adoration. Gisela Charfauros McDaniel’s portrait of her mother, Tiningo’ si Sirena (2021), moves between intimacy and an attentiveness to larger concepts that are meaningful to the artist, like cultural inheritances and ecological interconnectivity. For his Sound Suit (2008), Nick Cave extended the lifespan of discarded objects by transforming them into a surreal, otherworldly costume that asserts the value of Black life. The intensive time and labor that goes into creating textiles and fiber art is evident in examples by Sheila Hicks, Howardena Pindell and Jane Sauer. Through these works and many others visitors can consider how different forms of care may inspire new models for living and feeling—now and in the future.

Deep Waters: Four Artists and the Sea

Saundra B. and William H. Lane Galleries (Gallery 332)
through November 9, 2025

Generations of artists have explored the beauties and terrors of the ocean, reflecting on the experiences of those who have lived and died among the waves. Weaving together artworks by four artists made over centuries and across the Atlantic, this exhibition follows a genealogical thread united by the sea. Echoes of John Singleton Copley’s Watson and the Shark (1778) reverberate in J. M. W Turner’s 1840 Slave Ship (Slavers Throwing Overboard the Dead and Dying, Typhoon Coming On), which itself has influenced art created in the 21st century.

Presented here for the first time in New England, John Akomfrah’s iconic three-channel film installation Vertigo Sea (2015) expands on the themes at the heart of the two earlier works, exploring humanity’s tumultuous relationship with the sea and its creatures, and the ocean’s role in the history of slavery. In Some People Have Spiritual Eyes I and II (2020), photographer Ayana V. Jackson takes these ideas in a new direction. Jackson’s exploration of divinity, femininity, and destiny through self-portraiture is inspired by Drexciya, a mythical aquatic utopia populated by descendants of the pregnant African women who lost their lives in the Atlantic Ocean during the Middle Passage.

“Deep Waters: Four Artists and the Sea” invites visitors to consider and reflect on the conversation between these works of art and their makers. Each artist offers a unique perspective drawn from their lived experience, yet all are attuned to the poetics and histories of the sea—from its glittering surfaces and unfathomable depths to its inhabitants and ghosts; from it as a site of memory, mourning, and fragility to a symbol of resilience and possible futures.

Huntington Avenue Entrance Commission: The Knowledge Keepers

Huntington Avenue Entrance
Opened November 14, 2024

Western artists have frequently depicted Indigenous subjects as exotic, anonymous figures frozen in time and represented in poses of subjugation, violence, or reverie. By contrast, Alan Michelson’s The Knowledge Keepers represents two contemporary local Indigenous cultural stewards, Aquinnah Wampanoag member Julia Marden and Nipmuc descendent Andre StrongBearHeart Gaines Jr., posed in dynamic gestures of public address. Michelson’s project is the first in a new series of sculptural commissions for the MFA’s Huntington Avenue Entrance, where contemporary artists engage the site in all of its complexity.

Cast in bronze and gilded in shimmering platinum, The Knowledge Keepers pays tribute to the Northeastern Woodland nations’ reverence for copper, crystal, shell, and silver, materials treasured for both their physical and metaphorical luster. Platinum, with its resistance to corrosion, chemical stability, and role in advanced electronics and spacecraft, translates that tradition into the future.

Marden, an artist and specialist in twining, crafts all of her own regalia. She raises a turkey feather fan in a gesture of honor. Gaines, an Indigenous activist, public speaker, and builder of wetus (traditional homes) and mishoonash (dugout canoes) reads from a page of text in the classical pose of an orator. Michelson’s selection of them as models emphasizes their roles as cultural models. By extension, The Knowledge Keepers seeks to honor and celebrate the beauty, presence, agency, and endurance of the Indigenous nations of Massachusetts.

Beyond Brilliance: Jewelry Highlights from the Collection

Rita J. and Stanley H. Kaplan Family Foundation Gallery (Gallery 104)
Opened May 2024

Celebrating the universality of body adornment throughout the ages and across cultures, this newly renovated gallery presents highlights from the MFA’s renowned jewelry collection. From ancient artifacts to fine jewelry to designs made by contemporary artists, the presentation connects objects that span 4,000 years by exploring how jewelry can communicate strong messages about its wearer and exemplify the art and culture of its time.

More than 150 objects are on display, including an ancient Egyptian broad collar necklace; 19th-century works by Castellani and Carlo Giuliano; 20th-century designs by Marcus & Co., Tiffany & Co., and Bulgari; René Boivin’s starfish brooch from 1937; and fashion jewelry by Chanel, Dior, and Elsa Peretti. New acquisitions of contemporary jewelry by Christian and Yasmin Hemmerle, Wallace Chan, Anna Hu, and Feng J are also featured.

Championing the breadth and depth of the MFA’s collection, “Beyond Brilliance: Jewelry Highlights from the Collection” features both humble and exquisite objects that together illustrate the timeless human desire to self-fashion, collect, and create.

French Salon Gallery

Elizabeth Parke Firestone and Harvey S. Firestone, Jr. Memorial Room (Gallery 141A)
Opened August 2022

The newly renovated French Salon provides an opulent setting for nearly 100 highlights from the MFA’s Elizabeth Parke Firestone and Harvey S. Firestone, Jr. Collection of French silver. This “period room” cannot in fact be pinned down to one specific period—an in-depth restoration campaign that began in 2018 yielded a stunning finding that half of the space dates to 18th-century France and the other half to early 20th-century New York. Installed in thematic groupings throughout the room, the silver objects on view include works made for royal, domestic and ecclesiastical purposes—showcasing the craftsmanship of silversmiths who worked in Paris and provincial French cities from the late 16th through the early 19th centuries.

Perhaps even more than other decorative arts objects, silver works carry with them physical evidence of their creation and subsequent lives. The raw material of silver is evident, and the signs of the many hands that processed it still remain: stamped marks tell the story of the artists, the tax collectors who evaluated quality, and the town guild where the pieces were made. In some instances, subsequent owners have engraved their coats of arms, inventory numbers or initials. An in-gallery video explores one incredible object in particular—an exquisite sauceboat by the star Parisian silversmith in mid-18th century, François-Thomas Germain—tracing its fascinating history from the mining of raw material in South America to the creation of the piece in France.

The salon itself, which entered the MFA’s collection nearly 100 years ago, is also presented as a museum object. An in-gallery video traces its evolution from France, to New York, where it was part of a Fifth Avenue mansion owned by businessman William Salomon, to Boston.

With gratitude to Elizabeth Parke Willis-Leatherman for her generous support of the renovation of this gallery. 

Art of the Italian Renaissance Galleries

(Gallery 141, 141B)
Opened August 2022

Two newly renovated, light-filled spaces present a new vision of the MFA’s collection of Italian Renaissance art, bringing together approximately 90 paintings, sculptures, ceramics, furniture and objects made for use in the home, including several recent acquisitions. The first gallery considers a variety of themes through object groupings: the meanings of antiquity for Renaissance artists, viewers and patrons; technical innovations and materials; the role of storytelling and the variety of narrative formats in Renaissance art; and the everyday lives of men and women. The second gallery explores the interweaving of religion and art, presenting works ranging from small-scale devotional paintings to larger-scale works including Rosso Fiorentino’s masterpiece The Dead Christ with Angels (about 1524–27). Together, these spaces convey the complexity, variety, creativity, spirituality, self-definition and curiosity that drove the making and appreciation of works during the Italian Renaissance—a period that continues to inspire and resonate with many today.

The renovation of these galleries is made possible with generous support from Emi M. and William G. Winterer, the Thompson Family Foundation, and an anonymous donor. Additional support from Tamara Petrosian Davis and Charles Howard Davis II.

Intentional Beauty: Jewish Ritual Art from the Collection

Bernard and Barbara Stern Shapiro Gallery (Gallery 231)
Opened December 2023

Bringing together nearly 30 works from the MFA’s collection of Jewish ritual art, or Judaica—most of which are new acquisitions on view for the first time—this gallery explores the splendor of items made for Jewish religious experience, at home and in the synagogue. Treasures of all kinds are on view: metalwork, textiles, paintings, furniture, and works on paper. Created across the centuries, they originate from places as far reaching as Asia, North Africa, Europe, and the United States. Though their meaning and use have always been intrinsically Jewish, their styles and techniques vary greatly, reflecting the artistic language of their surrounding cultures.

With lavish reliefs, engravings, and enamel and niello adornments, a Torah shield by Elimelekh Tzoref of Stanislav (Galicia, modern-day Ukraine) (1781–82) is one of the finest in existence. Its remarkable ornamentation and craftsmanship reflect the importance of the Torah scroll—the handwritten text of the first five books of the Hebrew Bible—in Judaism. Constructed to house the scroll at the now-defunct Shaare Zion Synagogue in Chelsea, Massachusetts, a Torah ark by woodcarver Samuel Katz (about 1920) is rooted in local history: it tells a story about immigration to Boston and the many changes and challenges Jews from the area faced in the early 20th century.

Contemporary works from the United States and Israel, such as kiddush cups, candlesticks, and spice boxes used in the observation of Shabbat, offer innovative takes on Judaica for the home. Older items—including a wood and silver Torah case from Baghdad (modern-day Iraq) (1879) and used in Calcutta, India—act as tangible testimonies to their communities’ histories. Taken together, these objects draw connections that offer a deeper understanding of Jewish values, traditions, and identity across time and geography.

"Intentional Beauty: Jewish Ritual Art from the Collection" is sponsored by the David Berg Foundation. Additional support provided by Lorraine Bressler, the Rita J. and Stanley H. Kaplan Family Foundation, Inc., Lisbeth Tarlow and Stephen Kay, and The Priebatsch Family Fund, in loving memory of Norman Priebatsch. With special gratitude to Marcia and Louis Kamentsky and the Charles and Lynn Schusterman Family Foundation.

Stories Artists Tell: Art of the Americas, the 20th Century

Art of the Americas Wing, Level 3
Ongoing

A new reinstallation of the third floor of the Art of the Americas Wing presents modern art from North and South America beyond the standard boundaries of geography, time and artistic movements. Stories Artists Tell: Art of the Americas, the 20th Century takes the form of an anthology, with each room offering a short story on a different theme—from the perspectives of Native artists in the Southwest to the vibrant connections between art, design and jazz at midcentury. The works are primarily drawn from the MFA’s collection, with well-known icons appearing alongside new acquisitions and other objects on view for the first time. Stories Artists Tell comprises six galleries that also provide context for a rotating central space, which will feature a series of special exhibitions in the coming years. The first, Touching Roots: Black Ancestral Legacies in the Americas, brings together work by Black artists in the Americas who turned their gaze to Africa to find grounding, strength and guidance, and gained insight into their identities, aesthetics and artistic practices.

Hank Willis Thomas: Remember Me

Linde Family Wing for Contemporary Art, Level 2
Ongoing

Hank Willis Thomas (born 1976) probes the visual culture of identity, history, social justice and popular media through conceptual art. His multimedia installations invite viewers to consider modes of systemic oppression and explore the depths of collective memory. These two installations, which source imagery from photography and archival materials, reframe historical iconography to resonate with contemporary audiences and propose constructive, collaborative, reparative futures.

Inspired by an antique postcard of a young Black man—possibly a World War I veteran—holding a rifle, Remember Me (2022) memorializes the strength, courage, and forgotten legacies of rural African Americans in the early 20th century. It replicates, as a large illuminated neon sign, the words handwritten on the back of the postcard: “Remember me.” Thomas encountered the source object at the Wadsworth Atheneum Museum of Art in Hartford, Connecticut.

“…but by the content of their character” (Test pattern) (2020) also deals with memory, imagery and race. This work is one of several Thomas has made by placing a UV print on retroreflective vinyl, creating rainbow-hued vertical bands reminiscent of a TV test pattern. Viewers must move through space for the reflective photographic image to become visible. In this specific iteration of the series, Thomas spotlights an iconic image of Dr. Martin Luther King Jr. delivering his “I Have a Dream” speech at the March on Washington for Jobs and Freedom in 1963. Flash photography further activates the image—inviting visitors to participate in image making.

Where Remember Me memorializes an unidentified figure one would not expect to find in textbooks or in movies, “...but by the content of their character” (Test pattern) features an iconic image of a widely known civil rights activist at a key, defining moment. Both works prompt perspectival shifts, asking audiences to reflect on the process of storytelling and history’s biases in a call to action.

This installation is presented in conjunction with the unveiling of The Embrace, a new memorial in the Boston Common honoring Dr. Martin Luther King Jr. and Coretta Scott King’s commitment to racial equity. The Embrace was designed by Thomas and the MASS Design Group and commissioned by Embrace Boston, the Boston Foundation and the Collection of the City of Boston.