Wíwənikan…the beauty we carry is an exhibition of contemporary art of the First Nations people of what is now Maine and Maritime Canada. Collectively known as the Wabanaki, the Maliseet, Micmac, Passamaquoddy, Penobscot, and Abenaki, our people have lived in and paddled through our homeland for thousands of years. Basketmakers, canoe makers, carvers, painters, and beadworkers, the artists in this exhibition carry the beauty of their ancestors and culture into the future.

Wíwənikan…the beauty we carry is guest curated by Jennifer Neptune, Penobscot basketmaker and beadworker; and Kathleen Mundell, director of Cultural Resources. Curatorial advisors Gretchen Faulkner, director of the Hudson Museum at the University of Maine, and Theresa Secord, a Penobscot basketmaker, consulted on the exhibition. In addition, the curators collaborated with a team of community advisors: James Francis (Penobscot), Suzanne Greenlaw (Maliseet), Brenda Moore Mitchell (Passamaquoddy), Jennifer Pictou (Micmac), and Frances Soctomah (Passamaquoddy). Julia Gray served as project manager.

Occupy Colby is part of the Brooklyn Rail’s ongoing exhibition Artists Need to Create on the Same Scale That Society Has the Capacity to Destroy, featuring artists engaging with political and social concerns. This second iteration of the project focuses solely on environmental issues and particularly on climate change. Among the participating artists are Lauren Bon, Mel Chin, Justin Brice Guariglia, and Meg Webster.

While he was a student at the Cooper Union, Alex Katz enrolled in a class on illustration. The artist had first read Herman Melville’s 1851 novel Moby-Dick around the age of 13, and he found himself returning to the text in connection with assignments for this course.

Etching is a printmaking process rooted in line and tone that allows for seemingly endless variations of these two elements to create a wide range of visual effects and poetic moods. Consisting of works from the Lunder Collection, Intersecting Lines examines three artists—Rembrandt van Rijn, James McNeill Whistler, and Pablo Picasso—who were dedicated to exploring the full creative potential of etching as a form of artistic expression.

A popular subject in art and the wider visual culture, horses were commonly depicted in weathervane form in the nineteenth century. This exhibition explores some of the different varieties of horse weathervanes and their historical significances.

Seniors studying studio art have spent all year working on capstone projects in disciplines that include printmaking, photography, painting, and sculpture. This show serves as the culmination of their studies. An exhibition catalogue containing images, artists’ statements, and analyses of works in the show written by students in AR356 will also be available. Works by Jake Abbe-Schneider, Keenan Boscoe, Meg Forelli, Maxwell Guerra, Wiley Holton, Heidi Minghao He, Alice Yutong Hua, Wendy Li, Los, Ekaterina Nikiforova, Shanzhao Qiao, and Andie Velazquez.

On view for the first time in the United States, Theaster Gates’s Facsimile Cabinet of Women Origin Stories includes nearly 3,000 images from the Johnson Publishing Company archive. Founded in 1942, Chicago-based Johnson Publishing chronicled the lives of Black Americans for more than seven decades through the magazines Ebony and Jet. Gates’s work, composed from arguably the most important archive of American Black visual culture in the twentieth century, recontextualizes and makes visible anew these images and their histories.

In the ongoing photographic project Somnyama Ngonyama—isiZulu for Hail the Dark Lioness—South African visual activist Zanele Muholi presents a visionary mosaic of identities, an exquisite empire of selves. This exhibition of more than seventy self-portraits from the series poses critical questions about social (in)justice, human rights, and contested representations of the Black body. Zanele Muholi: Somnyama Ngonyama, Hail the Dark Lioness is organized by Autograph, London. Curated by Renée Mussai.

Flooded McDonald’s (2008) is a film by the international artist collective SUPERFLEX. In the video, a life-size replica of the interior of a McDonald’s restaurant gradually floods. Furniture is lifted up by the water, trays of food and drinks start to float around, and electrical elements short circuit as the space is completely submerged and destroyed. Based in Denmark, Sweden, and Brazil, the members of SUPERFLEX investigate systems of power, globalization, and the social and environmental costs of consumer culture.