Lonnie Holley’s first major southern survey offered an intimate, career-spanning look at the Birmingham-born artist’s improvisational practice. Featuring more than 70 works—from early sandstone sculptures to quilt paintings—the exhibition traced Holley’s influence across generations of Black Southern artists and foregrounded themes of memory, survival, and collective history.

Germane Barnes transformed MOCA’s Paradise Courtyard with a pared-down replica of a shotgun house, honoring a once-common South Florida home rooted in Black life and labor. Stripped to its raw structure, the interactive installation challenged narratives of poverty while highlighting the role these homes played in sustaining the Black communities who built Miami.

Manuel Mathieu’s first major U.S. presentation explored Haiti’s turbulent history and ongoing political crises through large-scale paintings, sculpture, and mixed-media pieces. His work balances personal memory and political narrative, addressing themes of instability, resilience, and protest.

Andrea Chung’s exhibition explored Caribbean histories of extraction and labor. Featuring cyanotypes, cast-sugar sculptures, videos, and collage, the show—curated by Adeze Wilford—centers on motherhood, grief, and ancestral memory, culminating in an Afrofuturist underwater world of reassembled, healing histories.

The Maiden is the Warrior is the largest solo museum exhibition by Brooklyn-born, South Florida-based artist Vickie Pierre. Featuring over 40 works, the show explores memory, transformation, identity and feminine power through Haitian-inspired materials, hybridized mythological figures, and a meditative ceiling installation.