ICA features ‘Ayida,’ an exhibition of syncretism, memory and archives 

Lelia Contee, Contributing Writer 

The Institute for Contemporary Art unveiled a new exhibition, “Ayida,” which explores the intricacies of Afro-diasporic traditions, cultures and identity, as seen in Haiti and the Dominican Republic, through the works of five artists.

The exhibition’s name stems from Ayida Wedo, a deity in Haitian Vodou who is “the god for the earth and of the origins,” according to the events page. Usually imagined as a feminine figure or snake, the deity’s connection to syncretism, spirituality and ritual is highlighted throughout the show.  

“All of the artists have some connection to these ideas of ritual or spirituality,” said Egbert Vongmalaithong, the ICA’s assistant curator. “I think one of the connections between the artworks and the artists has a lot to do with where they’re deriving the research related to Caribbean spirituality.” 

In the exhibition, filmmaker Thomas Allen Harris displayed unique photographic works, some with religious and spiritual motifs, such as an image of a woman standing behind a lit candle that resembles a cross. 

Another featured artist was Oletha DeVane, who used a mix of man-made technological materials and symbolic materials to create sculptures with spiritual and political meaning.

Dominican artist Lizania Cruz used archives and performance art to focus on Blackness in the Dominican Republic, critique institutions and share perspectives. 

“I really hope that people really see the impact of the Caribbean and spirituality and its impact on American art,” Vongmalaithong said. 

The exhibition provides a takeaway packet including poems and prompts for audiences to reflect on the themes of memory and ritual, according to Vongmalaithong. 

The main inspiration is Assotto Saint, a Haitian-American poet who archived the lives of Black and gay writers through theater and writing, according to the events page. 

“Ayida” started as an eight-year research process into the lives of Black and gay writers and artists by curator Serubiri Moses. 

Moses examined Saint’s papers at the Schomburg Center for Research in Black Culture in New York. This sparked his interest in Caribbean artists, especially with connections to Harris, who knew Saint, according to Moses.

“It made me think about what kind of culture you were surrounded by and I started to research more,” Moses said. “This is also in touch with my curating, you know, is understanding the practices of artists from, for example, different parts of the world.”

Syncretism, a mixing of different cultures, faiths and traditions, is an important aspect of the exhibition, according to Moses. It stems from the transatlantic slave trade, where African people brought to America incorporated their languages and religions in the new world after being forced to suppress them.

For New York-based artist mujero, Saint’s life and the concept of syncretism were influential in their work. 

It can feel isolating for diasporic artists due to the division between “the land you’re from and the land you’re on,” but learning about Saint embracing both being a New Yorker and Haitian was “really powerful,” mujero said.  

In the exhibition, mujero deconstructed sneakers that engage with sneaker culture, its cultural symbolism and ties to masculine performance. They said they grew up with sneaker culture and used it as a way to contend with its beauty and complexities. 

“I’m acquiring the shoes from talking to them and realizing that I’m not just buying the shoes for what they signify,” mujero said. “I conceptualize them as like these broader cultural objects, but they’re also really personal objects.” 

ICA opened the “Ayida” exhibition in June and will close it in February 2026, according to the event’s page.