The Wolfsonian-FIU

Rumba, conga, and Afro-Cuban jazz. Mambo, cha-cha-cha, and salsa. Cuba's rich and diverse culture delighted American audiences in the 20th century. From tourist-packed Havana cabarets, to New York City dance halls, to the silver screen of Hollywood films, Afro-Cuban rhythms surged in popularity between the 1930s and '60s, rewriting the history of American music and dance. American jazz and big band swing, in turn, greatly influenced music in Cuba, where new hybrid genres added polyrhythmic African elements to the mix. Turn…

Tyrants aiming to dominate populations and terrorists aspiring to intimidate are vulnerable to satire and ridicule. In both wartime and peace, anti-Nazi propaganda campaigns have deployed biting humor, undermining their adversaries' power by making them look ridiculous rather than fearsome. This installation examines the parallels between Allied propaganda directed against Adolf Hitler and the Axis powers during the Second World War, and contemporary drawings by the popular cartoonist Sam Gross—known for his work in The New Yorker, Cosmopolitan, and Esquire—who directed his pen against…

For artist and activist Roberto Lugo, the past is always present. He mines the history of ceramics to create artwork with contemporary urgency, turning luxurious porcelain forms—often used to mark major events or memorialize monarchies and political leaders—into agents of change and disruption. At The Wolfsonian, Lugo looks to the museum's significant collection of 19th- and 20th-century European and American ceramics, producing new work inspired by these objects but depicting the histories, experiences, and heroes of Black and Brown communities…

Rumba, conga, and Afro-Cuban jazz. Mambo, cha-cha-cha, and salsa. Cuba's rich and diverse culture delighted American audiences in the 20th century. From tourist-packed Havana cabarets, to New York City dance halls, to the silver screen of Hollywood films, Afro-Cuban rhythms surged in popularity between the 1930s and '60s, rewriting the history of American music and dance. American jazz and big band swing, in turn, greatly influenced music in Cuba, where new hybrid genres added polyrhythmic African elements to the mix. Turn…

Tyrants aiming to dominate populations and terrorists aspiring to intimidate are vulnerable to satire and ridicule. In both wartime and peace, anti-Nazi propaganda campaigns have deployed biting humor, undermining their adversaries' power by making them look ridiculous rather than fearsome. This installation examines the parallels between Allied propaganda directed against Adolf Hitler and the Axis powers during the Second World War, and contemporary drawings by the popular cartoonist Sam Gross—known for his work in The New Yorker, Cosmopolitan, and Esquire—who directed his pen against…

For artist and activist Roberto Lugo, the past is always present. He mines the history of ceramics to create artwork with contemporary urgency, turning luxurious porcelain forms—often used to mark major events or memorialize monarchies and political leaders—into agents of change and disruption. At The Wolfsonian, Lugo looks to the museum's significant collection of 19th- and 20th-century European and American ceramics, producing new work inspired by these objects but depicting the histories, experiences, and heroes of Black and Brown communities…

Rumba, conga, and Afro-Cuban jazz. Mambo, cha-cha-cha, and salsa. Cuba's rich and diverse culture delighted American audiences in the 20th century. From tourist-packed Havana cabarets, to New York City dance halls, to the silver screen of Hollywood films, Afro-Cuban rhythms surged in popularity between the 1930s and '60s, rewriting the history of American music and dance. American jazz and big band swing, in turn, greatly influenced music in Cuba, where new hybrid genres added polyrhythmic African elements to the mix. Turn…

How do you care for one of the largest university art collections in the country? Led by Bookleggers Library director Nathaniel Sandler and featuring Silvia Manrique, The Wolfsonian's collections manager/conservator, this evening is all about conservation and the techniques that keep even century-old objects in top shape. We'll take you back through museum anecdotes and before-and-after treatment examples, and present a live paper-cleaning and repair demonstration—a glimpse at one of the many processes, beyond polishing the silver, that goes into…

Tyrants aiming to dominate populations and terrorists aspiring to intimidate are vulnerable to satire and ridicule. In both wartime and peace, anti-Nazi propaganda campaigns have deployed biting humor, undermining their adversaries' power by making them look ridiculous rather than fearsome. This installation examines the parallels between Allied propaganda directed against Adolf Hitler and the Axis powers during the Second World War, and contemporary drawings by the popular cartoonist Sam Gross—known for his work in The New Yorker, Cosmopolitan, and Esquire—who directed his pen against…

For artist and activist Roberto Lugo, the past is always present. He mines the history of ceramics to create artwork with contemporary urgency, turning luxurious porcelain forms—often used to mark major events or memorialize monarchies and political leaders—into agents of change and disruption. At The Wolfsonian, Lugo looks to the museum's significant collection of 19th- and 20th-century European and American ceramics, producing new work inspired by these objects but depicting the histories, experiences, and heroes of Black and Brown communities…

Rumba, conga, and Afro-Cuban jazz. Mambo, cha-cha-cha, and salsa. Cuba's rich and diverse culture delighted American audiences in the 20th century. From tourist-packed Havana cabarets, to New York City dance halls, to the silver screen of Hollywood films, Afro-Cuban rhythms surged in popularity between the 1930s and '60s, rewriting the history of American music and dance. American jazz and big band swing, in turn, greatly influenced music in Cuba, where new hybrid genres added polyrhythmic African elements to the mix. Turn…

Tyrants aiming to dominate populations and terrorists aspiring to intimidate are vulnerable to satire and ridicule. In both wartime and peace, anti-Nazi propaganda campaigns have deployed biting humor, undermining their adversaries' power by making them look ridiculous rather than fearsome. This installation examines the parallels between Allied propaganda directed against Adolf Hitler and the Axis powers during the Second World War, and contemporary drawings by the popular cartoonist Sam Gross—known for his work in The New Yorker, Cosmopolitan, and Esquire—who directed his pen against…

For artist and activist Roberto Lugo, the past is always present. He mines the history of ceramics to create artwork with contemporary urgency, turning luxurious porcelain forms—often used to mark major events or memorialize monarchies and political leaders—into agents of change and disruption. At The Wolfsonian, Lugo looks to the museum's significant collection of 19th- and 20th-century European and American ceramics, producing new work inspired by these objects but depicting the histories, experiences, and heroes of Black and Brown communities…

Rumba, conga, and Afro-Cuban jazz. Mambo, cha-cha-cha, and salsa. Cuba's rich and diverse culture delighted American audiences in the 20th century. From tourist-packed Havana cabarets, to New York City dance halls, to the silver screen of Hollywood films, Afro-Cuban rhythms surged in popularity between the 1930s and '60s, rewriting the history of American music and dance. American jazz and big band swing, in turn, greatly influenced music in Cuba, where new hybrid genres added polyrhythmic African elements to the mix. Turn…

Tyrants aiming to dominate populations and terrorists aspiring to intimidate are vulnerable to satire and ridicule. In both wartime and peace, anti-Nazi propaganda campaigns have deployed biting humor, undermining their adversaries' power by making them look ridiculous rather than fearsome. This installation examines the parallels between Allied propaganda directed against Adolf Hitler and the Axis powers during the Second World War, and contemporary drawings by the popular cartoonist Sam Gross—known for his work in The New Yorker, Cosmopolitan, and Esquire—who directed his pen against…

For artist and activist Roberto Lugo, the past is always present. He mines the history of ceramics to create artwork with contemporary urgency, turning luxurious porcelain forms—often used to mark major events or memorialize monarchies and political leaders—into agents of change and disruption. At The Wolfsonian, Lugo looks to the museum's significant collection of 19th- and 20th-century European and American ceramics, producing new work inspired by these objects but depicting the histories, experiences, and heroes of Black and Brown communities…

Rumba, conga, and Afro-Cuban jazz. Mambo, cha-cha-cha, and salsa. Cuba's rich and diverse culture delighted American audiences in the 20th century. From tourist-packed Havana cabarets, to New York City dance halls, to the silver screen of Hollywood films, Afro-Cuban rhythms surged in popularity between the 1930s and '60s, rewriting the history of American music and dance. American jazz and big band swing, in turn, greatly influenced music in Cuba, where new hybrid genres added polyrhythmic African elements to the mix. Turn…

Tyrants aiming to dominate populations and terrorists aspiring to intimidate are vulnerable to satire and ridicule. In both wartime and peace, anti-Nazi propaganda campaigns have deployed biting humor, undermining their adversaries' power by making them look ridiculous rather than fearsome. This installation examines the parallels between Allied propaganda directed against Adolf Hitler and the Axis powers during the Second World War, and contemporary drawings by the popular cartoonist Sam Gross—known for his work in The New Yorker, Cosmopolitan, and Esquire—who directed his pen against…

For artist and activist Roberto Lugo, the past is always present. He mines the history of ceramics to create artwork with contemporary urgency, turning luxurious porcelain forms—often used to mark major events or memorialize monarchies and political leaders—into agents of change and disruption. At The Wolfsonian, Lugo looks to the museum's significant collection of 19th- and 20th-century European and American ceramics, producing new work inspired by these objects but depicting the histories, experiences, and heroes of Black and Brown communities…

Tyrants aiming to dominate populations and terrorists aspiring to intimidate are vulnerable to satire and ridicule. In both wartime and peace, anti-Nazi propaganda campaigns have deployed biting humor, undermining their adversaries' power by making them look ridiculous rather than fearsome. This installation examines the parallels between Allied propaganda directed against Adolf Hitler and the Axis powers during the Second World War, and contemporary drawings by the popular cartoonist Sam Gross—known for his work in The New Yorker, Cosmopolitan, and Esquire—who directed his pen against…

For artist and activist Roberto Lugo, the past is always present. He mines the history of ceramics to create artwork with contemporary urgency, turning luxurious porcelain forms—often used to mark major events or memorialize monarchies and political leaders—into agents of change and disruption. At The Wolfsonian, Lugo looks to the museum's significant collection of 19th- and 20th-century European and American ceramics, producing new work inspired by these objects but depicting the histories, experiences, and heroes of Black and Brown communities…

Tyrants aiming to dominate populations and terrorists aspiring to intimidate are vulnerable to satire and ridicule. In both wartime and peace, anti-Nazi propaganda campaigns have deployed biting humor, undermining their adversaries' power by making them look ridiculous rather than fearsome. This installation examines the parallels between Allied propaganda directed against Adolf Hitler and the Axis powers during the Second World War, and contemporary drawings by the popular cartoonist Sam Gross—known for his work in The New Yorker, Cosmopolitan, and Esquire—who directed his pen against…

For artist and activist Roberto Lugo, the past is always present. He mines the history of ceramics to create artwork with contemporary urgency, turning luxurious porcelain forms—often used to mark major events or memorialize monarchies and political leaders—into agents of change and disruption. At The Wolfsonian, Lugo looks to the museum's significant collection of 19th- and 20th-century European and American ceramics, producing new work inspired by these objects but depicting the histories, experiences, and heroes of Black and Brown communities…

Tyrants aiming to dominate populations and terrorists aspiring to intimidate are vulnerable to satire and ridicule. In both wartime and peace, anti-Nazi propaganda campaigns have deployed biting humor, undermining their adversaries' power by making them look ridiculous rather than fearsome. This installation examines the parallels between Allied propaganda directed against Adolf Hitler and the Axis powers during the Second World War, and contemporary drawings by the popular cartoonist Sam Gross—known for his work in The New Yorker, Cosmopolitan, and Esquire—who directed his pen against…

For artist and activist Roberto Lugo, the past is always present. He mines the history of ceramics to create artwork with contemporary urgency, turning luxurious porcelain forms—often used to mark major events or memorialize monarchies and political leaders—into agents of change and disruption. At The Wolfsonian, Lugo looks to the museum's significant collection of 19th- and 20th-century European and American ceramics, producing new work inspired by these objects but depicting the histories, experiences, and heroes of Black and Brown communities…

Tyrants aiming to dominate populations and terrorists aspiring to intimidate are vulnerable to satire and ridicule. In both wartime and peace, anti-Nazi propaganda campaigns have deployed biting humor, undermining their adversaries' power by making them look ridiculous rather than fearsome. This installation examines the parallels between Allied propaganda directed against Adolf Hitler and the Axis powers during the Second World War, and contemporary drawings by the popular cartoonist Sam Gross—known for his work in The New Yorker, Cosmopolitan, and Esquire—who directed his pen against…

For artist and activist Roberto Lugo, the past is always present. He mines the history of ceramics to create artwork with contemporary urgency, turning luxurious porcelain forms—often used to mark major events or memorialize monarchies and political leaders—into agents of change and disruption. At The Wolfsonian, Lugo looks to the museum's significant collection of 19th- and 20th-century European and American ceramics, producing new work inspired by these objects but depicting the histories, experiences, and heroes of Black and Brown communities…

Tyrants aiming to dominate populations and terrorists aspiring to intimidate are vulnerable to satire and ridicule. In both wartime and peace, anti-Nazi propaganda campaigns have deployed biting humor, undermining their adversaries' power by making them look ridiculous rather than fearsome. This installation examines the parallels between Allied propaganda directed against Adolf Hitler and the Axis powers during the Second World War, and contemporary drawings by the popular cartoonist Sam Gross—known for his work in The New Yorker, Cosmopolitan, and Esquire—who directed his pen against…

For artist and activist Roberto Lugo, the past is always present. He mines the history of ceramics to create artwork with contemporary urgency, turning luxurious porcelain forms—often used to mark major events or memorialize monarchies and political leaders—into agents of change and disruption. At The Wolfsonian, Lugo looks to the museum's significant collection of 19th- and 20th-century European and American ceramics, producing new work inspired by these objects but depicting the histories, experiences, and heroes of Black and Brown communities…

Tyrants aiming to dominate populations and terrorists aspiring to intimidate are vulnerable to satire and ridicule. In both wartime and peace, anti-Nazi propaganda campaigns have deployed biting humor, undermining their adversaries' power by making them look ridiculous rather than fearsome. This installation examines the parallels between Allied propaganda directed against Adolf Hitler and the Axis powers during the Second World War, and contemporary drawings by the popular cartoonist Sam Gross—known for his work in The New Yorker, Cosmopolitan, and Esquire—who directed his pen against…

For artist and activist Roberto Lugo, the past is always present. He mines the history of ceramics to create artwork with contemporary urgency, turning luxurious porcelain forms—often used to mark major events or memorialize monarchies and political leaders—into agents of change and disruption. At The Wolfsonian, Lugo looks to the museum's significant collection of 19th- and 20th-century European and American ceramics, producing new work inspired by these objects but depicting the histories, experiences, and heroes of Black and Brown communities…

Tyrants aiming to dominate populations and terrorists aspiring to intimidate are vulnerable to satire and ridicule. In both wartime and peace, anti-Nazi propaganda campaigns have deployed biting humor, undermining their adversaries' power by making them look ridiculous rather than fearsome. This installation examines the parallels between Allied propaganda directed against Adolf Hitler and the Axis powers during the Second World War, and contemporary drawings by the popular cartoonist Sam Gross—known for his work in The New Yorker, Cosmopolitan, and Esquire—who directed his pen against…

For artist and activist Roberto Lugo, the past is always present. He mines the history of ceramics to create artwork with contemporary urgency, turning luxurious porcelain forms—often used to mark major events or memorialize monarchies and political leaders—into agents of change and disruption. At The Wolfsonian, Lugo looks to the museum's significant collection of 19th- and 20th-century European and American ceramics, producing new work inspired by these objects but depicting the histories, experiences, and heroes of Black and Brown communities…

Tyrants aiming to dominate populations and terrorists aspiring to intimidate are vulnerable to satire and ridicule. In both wartime and peace, anti-Nazi propaganda campaigns have deployed biting humor, undermining their adversaries' power by making them look ridiculous rather than fearsome. This installation examines the parallels between Allied propaganda directed against Adolf Hitler and the Axis powers during the Second World War, and contemporary drawings by the popular cartoonist Sam Gross—known for his work in The New Yorker, Cosmopolitan, and Esquire—who directed his pen against…

For artist and activist Roberto Lugo, the past is always present. He mines the history of ceramics to create artwork with contemporary urgency, turning luxurious porcelain forms—often used to mark major events or memorialize monarchies and political leaders—into agents of change and disruption. At The Wolfsonian, Lugo looks to the museum's significant collection of 19th- and 20th-century European and American ceramics, producing new work inspired by these objects but depicting the histories, experiences, and heroes of Black and Brown communities…

Tyrants aiming to dominate populations and terrorists aspiring to intimidate are vulnerable to satire and ridicule. In both wartime and peace, anti-Nazi propaganda campaigns have deployed biting humor, undermining their adversaries' power by making them look ridiculous rather than fearsome. This installation examines the parallels between Allied propaganda directed against Adolf Hitler and the Axis powers during the Second World War, and contemporary drawings by the popular cartoonist Sam Gross—known for his work in The New Yorker, Cosmopolitan, and Esquire—who directed his pen against…

For artist and activist Roberto Lugo, the past is always present. He mines the history of ceramics to create artwork with contemporary urgency, turning luxurious porcelain forms—often used to mark major events or memorialize monarchies and political leaders—into agents of change and disruption. At The Wolfsonian, Lugo looks to the museum's significant collection of 19th- and 20th-century European and American ceramics, producing new work inspired by these objects but depicting the histories, experiences, and heroes of Black and Brown communities…

Tyrants aiming to dominate populations and terrorists aspiring to intimidate are vulnerable to satire and ridicule. In both wartime and peace, anti-Nazi propaganda campaigns have deployed biting humor, undermining their adversaries' power by making them look ridiculous rather than fearsome. This installation examines the parallels between Allied propaganda directed against Adolf Hitler and the Axis powers during the Second World War, and contemporary drawings by the popular cartoonist Sam Gross—known for his work in The New Yorker, Cosmopolitan, and Esquire—who directed his pen against…

For artist and activist Roberto Lugo, the past is always present. He mines the history of ceramics to create artwork with contemporary urgency, turning luxurious porcelain forms—often used to mark major events or memorialize monarchies and political leaders—into agents of change and disruption. At The Wolfsonian, Lugo looks to the museum's significant collection of 19th- and 20th-century European and American ceramics, producing new work inspired by these objects but depicting the histories, experiences, and heroes of Black and Brown communities…

Tyrants aiming to dominate populations and terrorists aspiring to intimidate are vulnerable to satire and ridicule. In both wartime and peace, anti-Nazi propaganda campaigns have deployed biting humor, undermining their adversaries' power by making them look ridiculous rather than fearsome. This installation examines the parallels between Allied propaganda directed against Adolf Hitler and the Axis powers during the Second World War, and contemporary drawings by the popular cartoonist Sam Gross—known for his work in The New Yorker, Cosmopolitan, and Esquire—who directed his pen against…

For artist and activist Roberto Lugo, the past is always present. He mines the history of ceramics to create artwork with contemporary urgency, turning luxurious porcelain forms—often used to mark major events or memorialize monarchies and political leaders—into agents of change and disruption. At The Wolfsonian, Lugo looks to the museum's significant collection of 19th- and 20th-century European and American ceramics, producing new work inspired by these objects but depicting the histories, experiences, and heroes of Black and Brown communities…

Tyrants aiming to dominate populations and terrorists aspiring to intimidate are vulnerable to satire and ridicule. In both wartime and peace, anti-Nazi propaganda campaigns have deployed biting humor, undermining their adversaries' power by making them look ridiculous rather than fearsome. This installation examines the parallels between Allied propaganda directed against Adolf Hitler and the Axis powers during the Second World War, and contemporary drawings by the popular cartoonist Sam Gross—known for his work in The New Yorker, Cosmopolitan, and Esquire—who directed his pen against…

For artist and activist Roberto Lugo, the past is always present. He mines the history of ceramics to create artwork with contemporary urgency, turning luxurious porcelain forms—often used to mark major events or memorialize monarchies and political leaders—into agents of change and disruption. At The Wolfsonian, Lugo looks to the museum's significant collection of 19th- and 20th-century European and American ceramics, producing new work inspired by these objects but depicting the histories, experiences, and heroes of Black and Brown communities…

Tyrants aiming to dominate populations and terrorists aspiring to intimidate are vulnerable to satire and ridicule. In both wartime and peace, anti-Nazi propaganda campaigns have deployed biting humor, undermining their adversaries' power by making them look ridiculous rather than fearsome. This installation examines the parallels between Allied propaganda directed against Adolf Hitler and the Axis powers during the Second World War, and contemporary drawings by the popular cartoonist Sam Gross—known for his work in The New Yorker, Cosmopolitan, and Esquire—who directed his pen against…

For artist and activist Roberto Lugo, the past is always present. He mines the history of ceramics to create artwork with contemporary urgency, turning luxurious porcelain forms—often used to mark major events or memorialize monarchies and political leaders—into agents of change and disruption. At The Wolfsonian, Lugo looks to the museum's significant collection of 19th- and 20th-century European and American ceramics, producing new work inspired by these objects but depicting the histories, experiences, and heroes of Black and Brown communities…

Tyrants aiming to dominate populations and terrorists aspiring to intimidate are vulnerable to satire and ridicule. In both wartime and peace, anti-Nazi propaganda campaigns have deployed biting humor, undermining their adversaries' power by making them look ridiculous rather than fearsome. This installation examines the parallels between Allied propaganda directed against Adolf Hitler and the Axis powers during the Second World War, and contemporary drawings by the popular cartoonist Sam Gross—known for his work in The New Yorker, Cosmopolitan, and Esquire—who directed his pen against…

For artist and activist Roberto Lugo, the past is always present. He mines the history of ceramics to create artwork with contemporary urgency, turning luxurious porcelain forms—often used to mark major events or memorialize monarchies and political leaders—into agents of change and disruption. At The Wolfsonian, Lugo looks to the museum's significant collection of 19th- and 20th-century European and American ceramics, producing new work inspired by these objects but depicting the histories, experiences, and heroes of Black and Brown communities…

Tyrants aiming to dominate populations and terrorists aspiring to intimidate are vulnerable to satire and ridicule. In both wartime and peace, anti-Nazi propaganda campaigns have deployed biting humor, undermining their adversaries' power by making them look ridiculous rather than fearsome. This installation examines the parallels between Allied propaganda directed against Adolf Hitler and the Axis powers during the Second World War, and contemporary drawings by the popular cartoonist Sam Gross—known for his work in The New Yorker, Cosmopolitan, and Esquire—who directed his pen against…

For artist and activist Roberto Lugo, the past is always present. He mines the history of ceramics to create artwork with contemporary urgency, turning luxurious porcelain forms—often used to mark major events or memorialize monarchies and political leaders—into agents of change and disruption. At The Wolfsonian, Lugo looks to the museum's significant collection of 19th- and 20th-century European and American ceramics, producing new work inspired by these objects but depicting the histories, experiences, and heroes of Black and Brown communities…

Tyrants aiming to dominate populations and terrorists aspiring to intimidate are vulnerable to satire and ridicule. In both wartime and peace, anti-Nazi propaganda campaigns have deployed biting humor, undermining their adversaries' power by making them look ridiculous rather than fearsome. This installation examines the parallels between Allied propaganda directed against Adolf Hitler and the Axis powers during the Second World War, and contemporary drawings by the popular cartoonist Sam Gross—known for his work in The New Yorker, Cosmopolitan, and Esquire—who directed his pen against…

For artist and activist Roberto Lugo, the past is always present. He mines the history of ceramics to create artwork with contemporary urgency, turning luxurious porcelain forms—often used to mark major events or memorialize monarchies and political leaders—into agents of change and disruption. At The Wolfsonian, Lugo looks to the museum's significant collection of 19th- and 20th-century European and American ceramics, producing new work inspired by these objects but depicting the histories, experiences, and heroes of Black and Brown communities…

Tyrants aiming to dominate populations and terrorists aspiring to intimidate are vulnerable to satire and ridicule. In both wartime and peace, anti-Nazi propaganda campaigns have deployed biting humor, undermining their adversaries' power by making them look ridiculous rather than fearsome. This installation examines the parallels between Allied propaganda directed against Adolf Hitler and the Axis powers during the Second World War, and contemporary drawings by the popular cartoonist Sam Gross—known for his work in The New Yorker, Cosmopolitan, and Esquire—who directed his pen against…

For artist and activist Roberto Lugo, the past is always present. He mines the history of ceramics to create artwork with contemporary urgency, turning luxurious porcelain forms—often used to mark major events or memorialize monarchies and political leaders—into agents of change and disruption. At The Wolfsonian, Lugo looks to the museum's significant collection of 19th- and 20th-century European and American ceramics, producing new work inspired by these objects but depicting the histories, experiences, and heroes of Black and Brown communities…

Tyrants aiming to dominate populations and terrorists aspiring to intimidate are vulnerable to satire and ridicule. In both wartime and peace, anti-Nazi propaganda campaigns have deployed biting humor, undermining their adversaries' power by making them look ridiculous rather than fearsome. This installation examines the parallels between Allied propaganda directed against Adolf Hitler and the Axis powers during the Second World War, and contemporary drawings by the popular cartoonist Sam Gross—known for his work in The New Yorker, Cosmopolitan, and Esquire—who directed his pen against…

For artist and activist Roberto Lugo, the past is always present. He mines the history of ceramics to create artwork with contemporary urgency, turning luxurious porcelain forms—often used to mark major events or memorialize monarchies and political leaders—into agents of change and disruption. At The Wolfsonian, Lugo looks to the museum's significant collection of 19th- and 20th-century European and American ceramics, producing new work inspired by these objects but depicting the histories, experiences, and heroes of Black and Brown communities…

Tyrants aiming to dominate populations and terrorists aspiring to intimidate are vulnerable to satire and ridicule. In both wartime and peace, anti-Nazi propaganda campaigns have deployed biting humor, undermining their adversaries' power by making them look ridiculous rather than fearsome. This installation examines the parallels between Allied propaganda directed against Adolf Hitler and the Axis powers during the Second World War, and contemporary drawings by the popular cartoonist Sam Gross—known for his work in The New Yorker, Cosmopolitan, and Esquire—who directed his pen against…

For artist and activist Roberto Lugo, the past is always present. He mines the history of ceramics to create artwork with contemporary urgency, turning luxurious porcelain forms—often used to mark major events or memorialize monarchies and political leaders—into agents of change and disruption. At The Wolfsonian, Lugo looks to the museum's significant collection of 19th- and 20th-century European and American ceramics, producing new work inspired by these objects but depicting the histories, experiences, and heroes of Black and Brown communities…

Tyrants aiming to dominate populations and terrorists aspiring to intimidate are vulnerable to satire and ridicule. In both wartime and peace, anti-Nazi propaganda campaigns have deployed biting humor, undermining their adversaries' power by making them look ridiculous rather than fearsome. This installation examines the parallels between Allied propaganda directed against Adolf Hitler and the Axis powers during the Second World War, and contemporary drawings by the popular cartoonist Sam Gross—known for his work in The New Yorker, Cosmopolitan, and Esquire—who directed his pen against…

For artist and activist Roberto Lugo, the past is always present. He mines the history of ceramics to create artwork with contemporary urgency, turning luxurious porcelain forms—often used to mark major events or memorialize monarchies and political leaders—into agents of change and disruption. At The Wolfsonian, Lugo looks to the museum's significant collection of 19th- and 20th-century European and American ceramics, producing new work inspired by these objects but depicting the histories, experiences, and heroes of Black and Brown communities…

Tyrants aiming to dominate populations and terrorists aspiring to intimidate are vulnerable to satire and ridicule. In both wartime and peace, anti-Nazi propaganda campaigns have deployed biting humor, undermining their adversaries' power by making them look ridiculous rather than fearsome. This installation examines the parallels between Allied propaganda directed against Adolf Hitler and the Axis powers during the Second World War, and contemporary drawings by the popular cartoonist Sam Gross—known for his work in The New Yorker, Cosmopolitan, and Esquire—who directed his pen against…

For artist and activist Roberto Lugo, the past is always present. He mines the history of ceramics to create artwork with contemporary urgency, turning luxurious porcelain forms—often used to mark major events or memorialize monarchies and political leaders—into agents of change and disruption. At The Wolfsonian, Lugo looks to the museum's significant collection of 19th- and 20th-century European and American ceramics, producing new work inspired by these objects but depicting the histories, experiences, and heroes of Black and Brown communities…

Tyrants aiming to dominate populations and terrorists aspiring to intimidate are vulnerable to satire and ridicule. In both wartime and peace, anti-Nazi propaganda campaigns have deployed biting humor, undermining their adversaries' power by making them look ridiculous rather than fearsome. This installation examines the parallels between Allied propaganda directed against Adolf Hitler and the Axis powers during the Second World War, and contemporary drawings by the popular cartoonist Sam Gross—known for his work in The New Yorker, Cosmopolitan, and Esquire—who directed his pen against…

For artist and activist Roberto Lugo, the past is always present. He mines the history of ceramics to create artwork with contemporary urgency, turning luxurious porcelain forms—often used to mark major events or memorialize monarchies and political leaders—into agents of change and disruption. At The Wolfsonian, Lugo looks to the museum's significant collection of 19th- and 20th-century European and American ceramics, producing new work inspired by these objects but depicting the histories, experiences, and heroes of Black and Brown communities…

Tyrants aiming to dominate populations and terrorists aspiring to intimidate are vulnerable to satire and ridicule. In both wartime and peace, anti-Nazi propaganda campaigns have deployed biting humor, undermining their adversaries' power by making them look ridiculous rather than fearsome. This installation examines the parallels between Allied propaganda directed against Adolf Hitler and the Axis powers during the Second World War, and contemporary drawings by the popular cartoonist Sam Gross—known for his work in The New Yorker, Cosmopolitan, and Esquire—who directed his pen against…

For artist and activist Roberto Lugo, the past is always present. He mines the history of ceramics to create artwork with contemporary urgency, turning luxurious porcelain forms—often used to mark major events or memorialize monarchies and political leaders—into agents of change and disruption. At The Wolfsonian, Lugo looks to the museum's significant collection of 19th- and 20th-century European and American ceramics, producing new work inspired by these objects but depicting the histories, experiences, and heroes of Black and Brown communities…

Tyrants aiming to dominate populations and terrorists aspiring to intimidate are vulnerable to satire and ridicule. In both wartime and peace, anti-Nazi propaganda campaigns have deployed biting humor, undermining their adversaries' power by making them look ridiculous rather than fearsome. This installation examines the parallels between Allied propaganda directed against Adolf Hitler and the Axis powers during the Second World War, and contemporary drawings by the popular cartoonist Sam Gross—known for his work in The New Yorker, Cosmopolitan, and Esquire—who directed his pen against…

For artist and activist Roberto Lugo, the past is always present. He mines the history of ceramics to create artwork with contemporary urgency, turning luxurious porcelain forms—often used to mark major events or memorialize monarchies and political leaders—into agents of change and disruption. At The Wolfsonian, Lugo looks to the museum's significant collection of 19th- and 20th-century European and American ceramics, producing new work inspired by these objects but depicting the histories, experiences, and heroes of Black and Brown communities…

Tyrants aiming to dominate populations and terrorists aspiring to intimidate are vulnerable to satire and ridicule. In both wartime and peace, anti-Nazi propaganda campaigns have deployed biting humor, undermining their adversaries' power by making them look ridiculous rather than fearsome. This installation examines the parallels between Allied propaganda directed against Adolf Hitler and the Axis powers during the Second World War, and contemporary drawings by the popular cartoonist Sam Gross—known for his work in The New Yorker, Cosmopolitan, and Esquire—who directed his pen against…

For artist and activist Roberto Lugo, the past is always present. He mines the history of ceramics to create artwork with contemporary urgency, turning luxurious porcelain forms—often used to mark major events or memorialize monarchies and political leaders—into agents of change and disruption. At The Wolfsonian, Lugo looks to the museum's significant collection of 19th- and 20th-century European and American ceramics, producing new work inspired by these objects but depicting the histories, experiences, and heroes of Black and Brown communities…

Tyrants aiming to dominate populations and terrorists aspiring to intimidate are vulnerable to satire and ridicule. In both wartime and peace, anti-Nazi propaganda campaigns have deployed biting humor, undermining their adversaries' power by making them look ridiculous rather than fearsome. This installation examines the parallels between Allied propaganda directed against Adolf Hitler and the Axis powers during the Second World War, and contemporary drawings by the popular cartoonist Sam Gross—known for his work in The New Yorker, Cosmopolitan, and Esquire—who directed his pen against…

For artist and activist Roberto Lugo, the past is always present. He mines the history of ceramics to create artwork with contemporary urgency, turning luxurious porcelain forms—often used to mark major events or memorialize monarchies and political leaders—into agents of change and disruption. At The Wolfsonian, Lugo looks to the museum's significant collection of 19th- and 20th-century European and American ceramics, producing new work inspired by these objects but depicting the histories, experiences, and heroes of Black and Brown communities…

Tyrants aiming to dominate populations and terrorists aspiring to intimidate are vulnerable to satire and ridicule. In both wartime and peace, anti-Nazi propaganda campaigns have deployed biting humor, undermining their adversaries' power by making them look ridiculous rather than fearsome. This installation examines the parallels between Allied propaganda directed against Adolf Hitler and the Axis powers during the Second World War, and contemporary drawings by the popular cartoonist Sam Gross—known for his work in The New Yorker, Cosmopolitan, and Esquire—who directed his pen against…

For artist and activist Roberto Lugo, the past is always present. He mines the history of ceramics to create artwork with contemporary urgency, turning luxurious porcelain forms—often used to mark major events or memorialize monarchies and political leaders—into agents of change and disruption. At The Wolfsonian, Lugo looks to the museum's significant collection of 19th- and 20th-century European and American ceramics, producing new work inspired by these objects but depicting the histories, experiences, and heroes of Black and Brown communities…

Tyrants aiming to dominate populations and terrorists aspiring to intimidate are vulnerable to satire and ridicule. In both wartime and peace, anti-Nazi propaganda campaigns have deployed biting humor, undermining their adversaries' power by making them look ridiculous rather than fearsome. This installation examines the parallels between Allied propaganda directed against Adolf Hitler and the Axis powers during the Second World War, and contemporary drawings by the popular cartoonist Sam Gross—known for his work in The New Yorker, Cosmopolitan, and Esquire—who directed his pen against…

For artist and activist Roberto Lugo, the past is always present. He mines the history of ceramics to create artwork with contemporary urgency, turning luxurious porcelain forms—often used to mark major events or memorialize monarchies and political leaders—into agents of change and disruption. At The Wolfsonian, Lugo looks to the museum's significant collection of 19th- and 20th-century European and American ceramics, producing new work inspired by these objects but depicting the histories, experiences, and heroes of Black and Brown communities…

Tyrants aiming to dominate populations and terrorists aspiring to intimidate are vulnerable to satire and ridicule. In both wartime and peace, anti-Nazi propaganda campaigns have deployed biting humor, undermining their adversaries' power by making them look ridiculous rather than fearsome. This installation examines the parallels between Allied propaganda directed against Adolf Hitler and the Axis powers during the Second World War, and contemporary drawings by the popular cartoonist Sam Gross—known for his work in The New Yorker, Cosmopolitan, and Esquire—who directed his pen against…

For artist and activist Roberto Lugo, the past is always present. He mines the history of ceramics to create artwork with contemporary urgency, turning luxurious porcelain forms—often used to mark major events or memorialize monarchies and political leaders—into agents of change and disruption. At The Wolfsonian, Lugo looks to the museum's significant collection of 19th- and 20th-century European and American ceramics, producing new work inspired by these objects but depicting the histories, experiences, and heroes of Black and Brown communities…

Tyrants aiming to dominate populations and terrorists aspiring to intimidate are vulnerable to satire and ridicule. In both wartime and peace, anti-Nazi propaganda campaigns have deployed biting humor, undermining their adversaries' power by making them look ridiculous rather than fearsome. This installation examines the parallels between Allied propaganda directed against Adolf Hitler and the Axis powers during the Second World War, and contemporary drawings by the popular cartoonist Sam Gross—known for his work in The New Yorker, Cosmopolitan, and Esquire—who directed his pen against…

For artist and activist Roberto Lugo, the past is always present. He mines the history of ceramics to create artwork with contemporary urgency, turning luxurious porcelain forms—often used to mark major events or memorialize monarchies and political leaders—into agents of change and disruption. At The Wolfsonian, Lugo looks to the museum's significant collection of 19th- and 20th-century European and American ceramics, producing new work inspired by these objects but depicting the histories, experiences, and heroes of Black and Brown communities…

Tyrants aiming to dominate populations and terrorists aspiring to intimidate are vulnerable to satire and ridicule. In both wartime and peace, anti-Nazi propaganda campaigns have deployed biting humor, undermining their adversaries' power by making them look ridiculous rather than fearsome. This installation examines the parallels between Allied propaganda directed against Adolf Hitler and the Axis powers during the Second World War, and contemporary drawings by the popular cartoonist Sam Gross—known for his work in The New Yorker, Cosmopolitan, and Esquire—who directed his pen against…

For artist and activist Roberto Lugo, the past is always present. He mines the history of ceramics to create artwork with contemporary urgency, turning luxurious porcelain forms—often used to mark major events or memorialize monarchies and political leaders—into agents of change and disruption. At The Wolfsonian, Lugo looks to the museum's significant collection of 19th- and 20th-century European and American ceramics, producing new work inspired by these objects but depicting the histories, experiences, and heroes of Black and Brown communities…

Tyrants aiming to dominate populations and terrorists aspiring to intimidate are vulnerable to satire and ridicule. In both wartime and peace, anti-Nazi propaganda campaigns have deployed biting humor, undermining their adversaries' power by making them look ridiculous rather than fearsome. This installation examines the parallels between Allied propaganda directed against Adolf Hitler and the Axis powers during the Second World War, and contemporary drawings by the popular cartoonist Sam Gross—known for his work in The New Yorker, Cosmopolitan, and Esquire—who directed his pen against…

For artist and activist Roberto Lugo, the past is always present. He mines the history of ceramics to create artwork with contemporary urgency, turning luxurious porcelain forms—often used to mark major events or memorialize monarchies and political leaders—into agents of change and disruption. At The Wolfsonian, Lugo looks to the museum's significant collection of 19th- and 20th-century European and American ceramics, producing new work inspired by these objects but depicting the histories, experiences, and heroes of Black and Brown communities…

Tyrants aiming to dominate populations and terrorists aspiring to intimidate are vulnerable to satire and ridicule. In both wartime and peace, anti-Nazi propaganda campaigns have deployed biting humor, undermining their adversaries' power by making them look ridiculous rather than fearsome. This installation examines the parallels between Allied propaganda directed against Adolf Hitler and the Axis powers during the Second World War, and contemporary drawings by the popular cartoonist Sam Gross—known for his work in The New Yorker, Cosmopolitan, and Esquire—who directed his pen against…

For artist and activist Roberto Lugo, the past is always present. He mines the history of ceramics to create artwork with contemporary urgency, turning luxurious porcelain forms—often used to mark major events or memorialize monarchies and political leaders—into agents of change and disruption. At The Wolfsonian, Lugo looks to the museum's significant collection of 19th- and 20th-century European and American ceramics, producing new work inspired by these objects but depicting the histories, experiences, and heroes of Black and Brown communities…

Tyrants aiming to dominate populations and terrorists aspiring to intimidate are vulnerable to satire and ridicule. In both wartime and peace, anti-Nazi propaganda campaigns have deployed biting humor, undermining their adversaries' power by making them look ridiculous rather than fearsome. This installation examines the parallels between Allied propaganda directed against Adolf Hitler and the Axis powers during the Second World War, and contemporary drawings by the popular cartoonist Sam Gross—known for his work in The New Yorker, Cosmopolitan, and Esquire—who directed his pen against…

For artist and activist Roberto Lugo, the past is always present. He mines the history of ceramics to create artwork with contemporary urgency, turning luxurious porcelain forms—often used to mark major events or memorialize monarchies and political leaders—into agents of change and disruption. At The Wolfsonian, Lugo looks to the museum's significant collection of 19th- and 20th-century European and American ceramics, producing new work inspired by these objects but depicting the histories, experiences, and heroes of Black and Brown communities…

Tyrants aiming to dominate populations and terrorists aspiring to intimidate are vulnerable to satire and ridicule. In both wartime and peace, anti-Nazi propaganda campaigns have deployed biting humor, undermining their adversaries' power by making them look ridiculous rather than fearsome. This installation examines the parallels between Allied propaganda directed against Adolf Hitler and the Axis powers during the Second World War, and contemporary drawings by the popular cartoonist Sam Gross—known for his work in The New Yorker, Cosmopolitan, and Esquire—who directed his pen against…

For artist and activist Roberto Lugo, the past is always present. He mines the history of ceramics to create artwork with contemporary urgency, turning luxurious porcelain forms—often used to mark major events or memorialize monarchies and political leaders—into agents of change and disruption. At The Wolfsonian, Lugo looks to the museum's significant collection of 19th- and 20th-century European and American ceramics, producing new work inspired by these objects but depicting the histories, experiences, and heroes of Black and Brown communities…

Tyrants aiming to dominate populations and terrorists aspiring to intimidate are vulnerable to satire and ridicule. In both wartime and peace, anti-Nazi propaganda campaigns have deployed biting humor, undermining their adversaries' power by making them look ridiculous rather than fearsome. This installation examines the parallels between Allied propaganda directed against Adolf Hitler and the Axis powers during the Second World War, and contemporary drawings by the popular cartoonist Sam Gross—known for his work in The New Yorker, Cosmopolitan, and Esquire—who directed his pen against…

For artist and activist Roberto Lugo, the past is always present. He mines the history of ceramics to create artwork with contemporary urgency, turning luxurious porcelain forms—often used to mark major events or memorialize monarchies and political leaders—into agents of change and disruption. At The Wolfsonian, Lugo looks to the museum's significant collection of 19th- and 20th-century European and American ceramics, producing new work inspired by these objects but depicting the histories, experiences, and heroes of Black and Brown communities…

Tyrants aiming to dominate populations and terrorists aspiring to intimidate are vulnerable to satire and ridicule. In both wartime and peace, anti-Nazi propaganda campaigns have deployed biting humor, undermining their adversaries' power by making them look ridiculous rather than fearsome. This installation examines the parallels between Allied propaganda directed against Adolf Hitler and the Axis powers during the Second World War, and contemporary drawings by the popular cartoonist Sam Gross—known for his work in The New Yorker, Cosmopolitan, and Esquire—who directed his pen against…

For artist and activist Roberto Lugo, the past is always present. He mines the history of ceramics to create artwork with contemporary urgency, turning luxurious porcelain forms—often used to mark major events or memorialize monarchies and political leaders—into agents of change and disruption. At The Wolfsonian, Lugo looks to the museum's significant collection of 19th- and 20th-century European and American ceramics, producing new work inspired by these objects but depicting the histories, experiences, and heroes of Black and Brown communities…

Tyrants aiming to dominate populations and terrorists aspiring to intimidate are vulnerable to satire and ridicule. In both wartime and peace, anti-Nazi propaganda campaigns have deployed biting humor, undermining their adversaries' power by making them look ridiculous rather than fearsome. This installation examines the parallels between Allied propaganda directed against Adolf Hitler and the Axis powers during the Second World War, and contemporary drawings by the popular cartoonist Sam Gross—known for his work in The New Yorker, Cosmopolitan, and Esquire—who directed his pen against…

For artist and activist Roberto Lugo, the past is always present. He mines the history of ceramics to create artwork with contemporary urgency, turning luxurious porcelain forms—often used to mark major events or memorialize monarchies and political leaders—into agents of change and disruption. At The Wolfsonian, Lugo looks to the museum's significant collection of 19th- and 20th-century European and American ceramics, producing new work inspired by these objects but depicting the histories, experiences, and heroes of Black and Brown communities…

Tyrants aiming to dominate populations and terrorists aspiring to intimidate are vulnerable to satire and ridicule. In both wartime and peace, anti-Nazi propaganda campaigns have deployed biting humor, undermining their adversaries' power by making them look ridiculous rather than fearsome. This installation examines the parallels between Allied propaganda directed against Adolf Hitler and the Axis powers during the Second World War, and contemporary drawings by the popular cartoonist Sam Gross—known for his work in The New Yorker, Cosmopolitan, and Esquire—who directed his pen against…

For artist and activist Roberto Lugo, the past is always present. He mines the history of ceramics to create artwork with contemporary urgency, turning luxurious porcelain forms—often used to mark major events or memorialize monarchies and political leaders—into agents of change and disruption. At The Wolfsonian, Lugo looks to the museum's significant collection of 19th- and 20th-century European and American ceramics, producing new work inspired by these objects but depicting the histories, experiences, and heroes of Black and Brown communities…

Tyrants aiming to dominate populations and terrorists aspiring to intimidate are vulnerable to satire and ridicule. In both wartime and peace, anti-Nazi propaganda campaigns have deployed biting humor, undermining their adversaries' power by making them look ridiculous rather than fearsome. This installation examines the parallels between Allied propaganda directed against Adolf Hitler and the Axis powers during the Second World War, and contemporary drawings by the popular cartoonist Sam Gross—known for his work in The New Yorker, Cosmopolitan, and Esquire—who directed his pen against…