The Way We Remember, Fritz Koenig’s Sphere, the Trauma of 9/11, and the Politics of Memory, 2021, Curted by Holger A. Klein, Lisa and Bernard Selz Professor of Medieval Art History, Wallach Gallery Columbia University, New York City.
Coinciding with the 20th anniversary of 9/11 and engaging ongoing popular and academic debates about public monuments, memory, trauma, and the politics of remembrance, The Way We Remember: Koenig’s Sphere, the Trauma of 9/11, and the Politics of Memory examines the power of art to represent collective loss. Twenty years after the attacks on the World Trade Center, the United States faced another unprecedented crisis as the COVID-19 pandemic claimed daily death tolls that, by December 2020, surpassed those of 9/11. This convergence raises urgent questions: how do we make immense loss visible and palpable, how do we mourn and commemorate individual and collective suffering, and what forms of memorialization are appropriate—particularly within minority and immigrant communities disproportionately affected by the pandemic? Drawing on artists’ responses to historical traumas such as the World Wars, the Holocaust, and 9/11, the exhibition invites artists and local community members in and beyond Morningside Heights to propose memorial projects that offer critical reflection, models of remembrance, and preliminary answers to these pressing questions.

Making Space at the ARMORY
ARCHER AYMES RETROSPECTIVE: A JUNETEENTH EXHIBITION, 2022, Park Avenue Armory, New York City.
Audiences explored the legacy of emancipation through an immersive art installation curated by Carl Hancock Rux with Tavia Nyong’o and Dianne Smith of newly discovered works by Archer Aymes, the elusive subject of Rux’s Obie-award winning play Talk, which had its premiere at the Joseph Papp Public Theater. The retrospective includes a light and sound installation created by Dianne Smith that reconstructs Aymes’ experimental film Mother and Son—based on his novel of the same name and cultural artifacts that may have helped Aymes construct its story. Also on display is an accompanying altar also created by Smith of lost and found objects from an impossible archive of images, objects, and sounds Aymes collected in his attempt to explore the never-ending racial injustice that continues to shape the lives of its victims into the 21st century.






























