Calls for Action connects the rich biodiversity of a primordial rainforest in South America with the city of Boston, offering a window into a fragile ecosystem. A 24-hour live-streamed video feed from the Brazilian rainforest, enhanced with infrared technology after dark, reveals this threatened landscape. A speaker positioned within the forest invites visitors to call from their phones, sending their voices into the wild, where they echo back in return.

Inspired by a trip to the Arctic Circle, where the artist encountered a massive boneyard of whale skeletons, Nomad 2 responds to Boston’s whaling history with a steel vessel shaped like a whale vertebra—a spaceship and space-time capsule all in one. Its control panel holds a speculative archive exploring fuel, the survival of whales on Earth, and their possible presence elsewhere in the cosmos.

Created for Charlestown, This Moment for Joy is inspired by the great pleasure and warmth of the Black women in the artist’s life. Built from wood in a gradient curve, the work reflects Alison Croney Moses’s exploration of craft, community, identity, motherhood, and the importance of Black mothers and Black joy.

I think it goes like this (pick yourself up) is a monumental bronze sculpture cast from chopped-up imitation totems. The bronze logs form a kneeling figure, gathering itself from a pile. The form reflects damage to Indigenous culture and technology inflicted by colonization while acknowledging the difficulty of repair following generations of outside interference and homogenization.

Adela Goldbard’s project was a time-based artwork in the form of a quarter-scale replica of a 17th-century sailing ship used by European colonists landing in the Americas. Constructed from invasive phragmites gathered in New England and Mexico and woven by Uros artisans from Lake Titicaca, the work culminated in a three-part fictionalized “first encounter” performance between Indigenous people and European colonists.

Suspended within a towering 15-foot hand-carved frame evocative of a Nigerian upright loom, Under the Spider’s Web merges ancestral textile traditions of West and Central Africa with luminous depictions of divine hands at work. Nearby, the living installation Oruko Pe: The Names (Pattern) are Complete takes form in fully functional looms animated by live weaving performances.

Transmutation stands as both elegy and testament, mourning the loss of wild buffalo populations while honoring the enduring strength of Indigenous communities. Two towering portals crowned with colossal buffalo skulls frame a suspended mesh fabric adorned with thousands of ribbons, each knotted and inscribed with messages by community members in a shared ritual of remembrance and repair.

Stone Circle Bench is a custom-designed tree grille and seating area that creates space for reflection and gathering as an extension of Ekene Ijeoma’s ongoing living monument and archive, Black Forest. Across historically Black Boston neighborhoods, the project honors Black lives lost through tree plantings while addressing environmental disparities, including reduced tree coverage in redlined communities.

Today is The Day is an interactive installation that invites visitors to find cause for celebration in everyday life and proudly uplift it. A main flag reading “Today is The Day” serves as a prompt for reflection, while a pulley system displays 12 smaller flags with everyday achievements. Inspired by the Boston Navy Yard’s military ceremonies, the act becomes playful and unifying.

In Indistinct Form (Forma Indistinta), Laura Lima creates artworks not for humans but for animals that become both audience and participants. Working with wildlife experts at Instituto Vida Livre in Rio de Janeiro and the Mass Audubon Boston Nature Center, Lima selected sites throughout the wildlife sanctuary and designed sculptural elements for birds and woodland creatures to inhabit.

Inspired by the overlooked beauty of the city and conversations with Breaktime Associates, Cost of Living illuminates the words and conditions of young adult homelessness. The neon signs use a familiar small-business aesthetic and phrases such as “people over property” to raise awareness, foster empathy, and elevate the voices and experiences of unhoused youth.

Material Monument to Thomas Morton (Playing Indian) is a larger-than-life sculpture that humorously highlights colonial figure and Puritan defector Thomas Morton. Symbols from Boston pop culture, monuments, and mascots merge with the Tlingit sculptural tradition of “shame poles” to form a satirical “shameless pole” embracing revelry, refusal, resistance, and Indigenous solidarity.

Convergence: Porous Futures is a site-specific installation exploring the Boston Inner Harbor as a place of confluence. A reflective sculpture modeled after a storm drain hovers over a living garden with bioswales shaped to mirror the Mystic and Charles Rivers, drawing attention to overlooked water infrastructure, stormwater runoff, and environmental impact amid increasing weather extremes.

Ñ Press is a community print studio that transforms zines, posters, pamphlets, and artist books into vessels of connection, activism, and education. Developed in collaboration with Maverick Landing Community Services, the project treats print as a dynamic public medium, with text-driven works moving outward through billboards, wheatpasted posters, handouts, and other forms across the city.

In the Well: The Stories We Tell About Addiction is a multipart artwork composed of the sculpture Sibylant House at the Boston Public Library, illustrations presented in Gallery J, and a series of divination card prints from Oracle Deck wheatpasted throughout downtown Boston. The project questions prevailing narratives surrounding addiction and their relationship to trauma.

Matters of Consequence is a temporary sculptural installation that explores how art can help us think and act toward shared survival, environment, and care for one another. Inspired by a 15th-century studiolo—a room functioning as both private study and public studio—the work reimagines the UMass Boston University Hall Atrium as a place for gathering, events, learning, and exchange.