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Included in the exhibition might be a variety of her video installations contending with hard-to-pin-down psychological states, pure phenomena, Japanese theatre traditions, and, of course, her beloved pet canine. Many of Esther Mahlangu’s abstractions are accomplished within the fashion of conventional Ndebele painting, wherein members of her neighborhood array dazzling pigments to create starbursts and other types. Yet Mahlangu, who is now in her late 80s and has been painting since she was 10, doesn’t only paint on canvas—she has also adorned BMW vehicles, Belvedere vodka bottles, and Commes des Garçons garments. Having figured within the famed exhibition “Magiciens de la Terre,” whose conception of world art remains influential, Mahlangu is now getting a 100-work retrospective in the identical 12 months that she figures in the Venice Biennale. In the United States, traditionally, art has been a strong force in bridging political divides.

That work was instance of how Báez has animated the seemingly dead past, paying homage to her personal Haitian and Dominican heritage in the process. Her first North American survey will embody work and sculptures, plus a return to watery subject material within the form of a newly commissioned mural that may contemplate Boston’s own maritime history. …

Included in the exhibition might be a variety of her video installations contending with hard-to-pin-down psychological states, pure phenomena, Japanese theatre traditions, and, of course, her beloved pet canine. Many of Esther Mahlangu’s abstractions are accomplished within the fashion of conventional Ndebele painting, wherein members of her neighborhood array dazzling pigments to create starbursts and other types. Yet Mahlangu, who is now in her late 80s and has been painting since she was 10, doesn’t only paint on canvas—she has also adorned BMW vehicles, Belvedere vodka bottles, and Commes des Garçons garments. Having figured within the famed exhibition “Magiciens de la Terre,” whose conception of world art remains influential, Mahlangu is now getting a 100-work retrospective in the identical 12 months that she figures in the Venice Biennale. In the United States, traditionally, art has been a strong force in bridging political divides.

That work was instance of how Báez has animated the seemingly dead past, paying homage to her personal Haitian and Dominican heritage in the process. Her first North American survey will embody work and sculptures, plus a return to watery subject material within the form of a newly commissioned mural that may contemplate Boston’s own maritime history. …