October 3, 2018 to January 6, 2019

October 3, 2018 to January 6, 2019


The installation Aloha to the World at the Don Ho Terrace, is an imagined meandering to and from Hong Kong (and possibly back in time) from where Christopher K. Ho emigrated at age four. This solo exhibition, which includes a 35-foot tall banner, artifacts from a defunct Hawaiian hotel co-owned by Ho’s grandfather, and signage mimicking the hotel’s grand entrance, grapples with reverse diasporic aspirations, and, particularly, the affective shift from being a part of an ethnic minority in the United States to rejoining the Han majority. 

Featuring Photographs by John Rowe

July 25, 2018 to November 4, 2018

Over the last fifty years, Cuban artist Manuel Mendive has developed a sophisticated and pointed examination of the influence of African oral-based traditions on Cuba through the experimental lens of contemporary art. His multidisciplinary work, in particular performances, has become a vehicle for exploring the intersections between art, religion, philosophy, politics, ethics, and anthropology. At the Bronx Museum, Mendive will present a new body of works focused on his continued visual interpretation of narratives of Yorùbá-Lucumí culture and wisdom literature, extending to the universal ideas and relationships between humans and nature.


November 14, 2018 to February 17, 2019

Widely recognized for his large scale paintings that incorporate silkscreens of blown up
drawings, Eddie Martinez has built a consistent body of work over the last decade
successfully merging the tradition of American abstract painting with the energy of the
street. In this new body of work, created especially for this exhibition, Martinez
introduces yet a new element to his process in the guise of whiting out parts of the
composition, a move that represents a significant point in his career.

Erasure has been an important practice since the origins of art, and x-rays of paintings
by old masters often reveal ghostly images underneath. What might have started out of
necessity, however, eventually became an effect often referred to as pentimento, and in
1953 it became a celebrated trope when Robert Rauschenberg transformed a drawing
by Willem de Kooning by blurring its lines.

For many artists, the very idea of whiting out or erasing presents a daunting challenge as
it comes enmeshed in connotations of destruction. That is not the case for Martinez,
who regards the act of removing or obliterating painted elements not as an end in itself,
but as an integral part of the process of constructing a painting. He is aware of how
reductive the process of building an image can be—whether abstractly in our brain, or
physically in the studio. Martinez is inspired by the shapes and compositions formed on
walls that have been painted over with mismatched hues that seem to take on a life and
form of their own. The process in his studio follows a similar process, as he is
continuously looking for those points of resistance in the work to inform them and guide
them forward.

November 7, 2018 to March 3, 2019

The work of Bronx native Rochelle Feinstein is deeply informed by abstraction, while also conveying a keen sensibility to contemporary culture, particularly to our everyday use of language. Over the span of the last four decades, Feinstein has probed the relevance of the abstract painting tradition vis-a-vis a rapidly changing cultural environment. She has used the lexicon of abstract painting to approach subjects of both personal and social import such as the televised police pursuit of OJ Simpson (El Bronco, 1994); the Iraq war (Hotspots, 2003 - ongoing), and the economic downturn of 2008 (The Estate of Rochelle F., 2010)



September 29, 2011 – January 15, 2012
The First AIM Biennial
June 26 to September 5, 2011