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Onyeka Igwe’s anticolonial kinetics

Lind-Ramos emphasizes perseverance in the face of catastrophes like Hurricane Maria.

The Finnish artist has recently gained traction in the U.S. through a series of solo gallery shows and now her first stateside museum survey.

“PULSE, PULSE, PULSE, PULSE, hold, and pause,” a voice-over evenly calls out as monochrome footage rapidly intercuts between a black woman alone on a stretch of grass—arms out and angular, the top of her body pulling toward the ground and her legs partially bent—and stick-figure notations of her dance. Minutes later, a clip of women swirling the voluminous white clothes tied at their waists unfolds, instead, at a mesmerizing and unsettling molasses pace. This archival footage is punctuated with intertitles: “What happened when you looked down the lens? Or did they tell you not to?”...

There is a tacit co-dependency between things in Daniel Lind-Ramos’s assemblages. Objects sustain one another in a careful balance, leaning up against each other to form ecosystems of reciprocal uplift.