Featured Events in Boston in May 2025 (May Updated)

Through assemblage and juxtaposition, Troy Montes Michie (b. 1985) creates work centering the Black male body and considers how it has historically been marginalized, fetishized, idealized, and criminalized. Often in dialogue with the canon of collage, Michie investigates society’s understanding of race, gender, sexuality, and other fields of identity and power.

Generations of artists have explored the beauties and terrors of the ocean, reflecting on the experiences of those who have lived and lost their lives among the waves. Weaving together artworks by four artists made over centuries and across the Atlantic, this exhibition follows a genealogical thread united by the sea. Echoes of John Singleton Copley’s Watson and the Shark (1778) reverberate in J. M. W Turner’s 1840 Slave Ship (Slavers Throwing Overboard the Dead and Dying, Typhoon Coming On), which itself has influenced art created in the 21st century.

“Utopia, Dystopia” presents two single-channel videos from the MFA collection by Tony Cokes (b. 1956) and Oscar Muñoz (b. 1951). Created in the last decade, the films grapple with the duality of utopia and dystopia, expressing the artists’ senses of how idealistic visions of society often collide with harsh realities. Utopian dreams can promise a future without oppression and celebrate freedom of expression, yet achieving these ideals frequently comes into conflict with underlying dystopian truths such as systems of control, state surveillance, and deep inequality.

Although Vincent van Gogh (1853–1890) is today perhaps the most famous Dutch artist of all, in his own time he was relatively little known, especially when compared to artists of the Hague School. This group, named for the city where many of its members trained and worked, was comprised of those who had different styles but shared a devotion to the depiction of everyday life, looking to the Dutch countryside for their subjects and themes. The Hague School artists achieved international fame, and in the early 1900s US collectors and museums—including the MFA—eagerly sought their works. But over the decades the group’s fame faded.

Born in Roxbury, Massachusetts, John Wilson (1922–2015) is one of Boston’s most esteemed artists. His work, made over the span of 60 years, continues to resonate with the persistent realities of disenfranchisement, racial prejudice, and social injustice.“Witnessing Humanity: The Art of John Wilson” is the largest-ever exhibition of Wilson’s work, co-organized by the MFA and the Metropolitan Museum of Art, New York. Featuring approximately 110 works by the artist in a wide range of media—prints, drawings, paintings, sculpture, and illustrated books—the exhibition explores the many ways Wilson called attention to racial, social, and economic injustices through his art. Challenging both biases and omissions, Wilson explored subjects that include anti-Black violence, the civil rights movement, labor, and family life—with a particular focus on fatherhood. Portraits like Julie and Becky (1956–78) and his Young Americans suite of life-size portraits (about 1972–75) celebrate the essential humanity of Wilson’s family and friends, while other works like Deliver Us from Evil (1943) and The Trial (1951) depict the heinous impacts of systemic prejudice and racism. Wilson’s work speaks to shared experiences, while also displaying his personal search for identity as an artist, Black man, parent, and American.

Since arriving in America from England 250 years ago, the Shakers — a Christian sect of pacifists — have occupied a unique place in the American national identity. Also known as the United Society of Believers in Christ’s Second Appearing, the Shakers ascribe to values of communal living, celibacy, shared property, and gender and racial equality, and they are widely recognized for their simple living, architecture, music, and furniture. The Shakers have captured the imagination of countless artists since at least the early twentieth century, when ideas about perfection, elegance, and practicality associated with Shaker life and material culture took hold. These ideas entered more strongly into the American consciousness following a string of influential exhibitions and books, many of them organized and authored by collectors of Shaker furniture.

Multi-disciplinary Fabiola Jean-Louis’s captivating exhibition at the Isabella Stewart Gardner Museum invites visitors on a journey through the ancient and eternal, earthly and divine, personal and political. On view from February 27 – May 25, 2025, Waters of the Abyss: An Intersection of Spirit and Freedom by Fabiola Jean-Louis features a large amount of original commissions from the Haitian artist, crafted from the stunningly intricate marriage of paper pulp, mineral stones, shells, metals, glass, and more. Invoking the sanctity of Vodou and its role in Haitian liberation, these works will transform the Museum’s three rotating exhibition spaces, Hostetter Gallery; Fenway Gallery; and the Anne H. Fitzpatrick Façade, into a map of personal histories, a site of communion, and a spiritual portal.

Vincent van Gogh (1853–1890) once wrote, “What I’m most passionate about…is the portrait, the modern portrait.” This passion flourished between 1888 and ’89 when, during his stay in Arles, in the South of France, the artist created a number of portraits of a neighboring family—the postman Joseph Roulin; his wife, Augustine; and their three children: Armand, Camille, and Marcelle. Van Gogh’s tender relationship with the postman and his family, and his groundbreaking portrayals of them, are at the heart of this exhibition, which is the first dedicated to the Roulin portraits and the deep bonds of friendship between the artist and this family.

This exhibition brings together works from the MFA’s collection by María Magdalena Campos-Pons (b. 1959) and Ana Mendieta (1948–1985) in the first focused look at these influential artists side by side. Though the two never met, their practices share a reckoning with displacement and exile from their homes in Cuba, a deep reverence for the land, and a transformative use of natural elements like water, earth, and fire. For both artists, memory, ritual, and spirituality animate their artworks across photography, film, video, drawing, sculpture, installation, and performance.

In Doors (2022), Marclay edited hundreds of film and television clips, focusing on the opening and closing of doors. This dynamic image collage took more than ten years to complete, and the materials cover almost all types of feature films, from the French New Wave to Hollywood blockbusters. Through meticulous editing, Marclay constructs a visual narrative in which the actors constantly enter new spaces, and each door becomes a node for editing, forming a transition between different films and sound fields. The work presents a labyrinthine journey in which the protagonists get lost and found again. Marclay describes the image as a sculptural presence - a "spiritual architecture that the audience may follow or get lost in."