Fresh Takes on the Caribbean

The ICA/Boston's exhibit offers views from the diaspora  

Large tapestry featuring colorful woven saris and metal bells

The multimedia exhibition “Forecast Form: Art in the Caribbean Diaspora, 1990s-Today,” at the Institute of Contemporary Art, Boston, through February 25, opens with a bold tapestry. From across the room, Suchitra Mattai’s 2022 An Ocean Cradle could be a textured map of land, clouds, or shifting migrants’ routes. But up close, viewers discover the intricately woven fabrics (pieces of handmade saris collected from friends and family) amid clusters of ghungroo bells worn in classical Indian dances. This artwork is a painstaking, strand-by-strand construction. And it speaks to a core theme of the show: expanding perceptions of this complex region of more than 700 islands. The works of 28 artists illustrate that “the Caribbean” is not bound by “geography, language, and ethnicity,” exhibit text explains, but is a diasporic entity engaged in “constant exchange, displacement, and movement” where “the past, the present, and the future meet.” It’s a region marked by oceanic tides of shifting colonial powers and struggles for independence amid waves of populations—just as Mattai’s ancestors traveled from India to what’s now Guyana to become indentured servants on sugarcane plantations.

Men swinging gas hoses
From Christopher Cozier’s 2014 video Gas Men/COURTESY OF CHRISTOPHER COZIER

Christopher Cozier’s 2014 video Gas Men features two businessmen whirling gas pump handles like cowboys gearing up for a rodeo. It evokes the multicultural influx and global economies, like oil extraction, and associated cultural hierarchies that have affected the Caribbean’s development. In his acrylic and wood carving Cursed Grounds: Cursed Borders (2021), Haitian-American Didier William highlights a bifurcated surrealist landscape—the uprooted, dying trees above ground, and the vitality of running, amorphous animals below—in the age of climate change and migratory movements. In Lorraine O’Grady’s photograph The Fir Palm (1991/2019), a slanting tree, a blend of a New England fir and Caribbean palm, grows from the back of a black woman, evoking the artist’s first-generation experience growing up in America with Jamaican immigrant parents. These shared Caribbean roots sprout trees and creativity across the globe. 

Read more articles by Nell Porter-Brown

You might also like

Harvard’s Hasty Pudding Honors Rose Byrne

The Bridesmaids actress celebrated her 2026 Woman of the Year Award with a roast and a parade.

Harvard’s Hasty Pudding Toasts, Roasts Michael Keaton

The Batman actor was “encouraged as hell” by the students around him during the 2026 Man of the Year festivities.

Rabbi, Drag Queen, Film Star

Sabbath Queen, a new documentary, follows one man’s quest to make Judaism more expansive.

Most popular

Harvard’s Epstein Probe Widened

The University investigates ties to donors, following revelations in newly released files.

The True Cost of Grade Inflation at Harvard

How an abundance of A’s created “the most stressed-out world of all.”

Government Seeks More Harvard Admissions Data

Justice Department says it needs proof that Harvard is complying with a 2023 Supreme Court ruling.

Explore More From Current Issue

Modern campus collage: Treehouse Conference Center, One Milestone labs, Verra apartment, and co-working space.

The Enterprise Research Campus in Allston Nears Completion

A hotel, restaurants, and other retail establishments are open or on the way.

Purple violet flower with vibrant petals surrounded by green foliage.

Bees and Flowers Are Falling Out of Sync

Scientists are revisiting an old way of thinking about extinction.

A person climbs a curved ladder against a colorful background and four vertical ladders.

Harvard’s Productivity Trap

What happened to doing things for the sake of enjoyment?