Themes of race and abandonment in Bill T. Jones’s Deep Blue Sea become all the more relevant.

The recent conclusion of the choreographer’s trilogy, Water Will (in Melody), employs mime, gothic imagery, and a Grimm tale, to consider entanglements of nature, the feminine, and blackness.

Far away from any coastline. Where the wind strikes the water for the first time. Where waves start to grow. A young wave stretches its quivering back, reaching for the wind.

Painted on Yupo paper with water-soluble crayon, watercolor pencil, water brush, paper towel, and Q-tip.

A recording plays from somewhere high, / or low, through the falling dust-light: / I can’t tell you anything new about the river— / you can’t tell a river to itself.

Icelandic artist Ragna Róbertsdóttir mines the land and seascapes of her country to create sparse and delicate works.

The musician delves into the sonic properties and generative caprice of resonating bowls of water and melting blocks of ice—instruments that propel her latest album, Musique Hydromantique.

The final part of a performance trilogy on climate change, Falling Out fuses puppetry, Butoh, and Flex, to reflect on the Fukushima Daiichi nuclear disaster.

The paintings in HumidGray and ShadowLake evoke synesthetic colors, remembered landscapes, and the physical performance inherent in marking a canvas.

For the past five years, artist Margaret Ross Tolbert has been traveling to southern Turkey to the site of ancient Lycia, an autochthonous culture with roots in the Bronze Age, later Hellenized, and eventually controlled by the Romans.

The social practice works of Bon and Tuazon take the form of functional interventions to address and educate about California’s water crisis.

From Return to the Yakne Chitto: Houma Migrations (Neighborhood Story Project, University of New Orleans Press, 2019), a collaborative ethnography of Houma lifeways at the ends of the Louisiana bayou.

Two artists drawing from punk, graffiti, and traditional Native American aesthetics, talk about protest art and the notion of the “Post-Smithsonian delinquent.”

Historical currents reveal cultural trauma and methods of recuperation.