William Forsythe: Choreographic Objects, the artist’s first comprehensive American exhibition, blurred the lines between performance, sculpture, and installation

—and invited visitors to think through movement.

We Wanted a Revolution: Black Radical Women, 1965–85  reoriented conversations around race, feminism, political action, and art to highlight the voices and experiences of women of color.

Arthur Jafa’s powerful Love is the Message, The Message is Death offered a nuanced picture of Black life in the United States, which the artist sees as both beautiful and painfully fraught.

Jason Moran, the interdisciplinary artist’s first museum exhibition, explored jazz and its place in American culture through music, the visual arts, and stagecraft.

The MacArthur-winning jazz pianist showcased his talents on stage

and joined artist Glenn Ligon to discuss their collaborative work The Death of Tom in a free Artist’s Voice talk.

Legendary choreographer Twyla Tharp revisited her seminal early works in the multidisciplinary Minimalism and Me in a rare Boston appearance.

Choreographer Trajal Harrell merged history, ritual, and fantasy to reinterpret ideas of the past in Caen Amour.

Huma Bhabha: They Live, the largest survey of the artist’s work to date, presented over two decades of sculpture, drawing, and photography.

The artist joined Eva Respini, Barbara Lee Chief Curator, to discuss her complex visual vocabulary and influences including horror films, sci-fi, and modernism.

In Abby Zbikowski’s abandoned playground, nine dancers performed complex, hyper-physical dance that pushed them to the brink of their capabilities and endurance.

Outdoors, Harborwalk Sounds continued its tradition of attracting locally based talent hailing from across the globe for lively evenings on Boston Harbor.

A popular favorite from the ICA collection, Ragnar Kjartansson’s The Visitors mesmerized audiences all over again.

Less is a Bore: Maximalist Art & Design explored the impulse toward ornamentation, pattern painting, and decorative modes—and filled the galleries with color, pattern, shapes, and “more is more”

…and gave kids and families lots to look at.

The thirteenth installment of the ICA’s annual collection exhibition presented major works showcasing artists’ engagement and entanglement with the everyday.

In the Art Lab, Dennis Nance’s Character Study invited visitors of all ages to develop their unique character ideas by mining the mundane.

Bill T. Jones returned with his poignant and personal Analogy Trilogy, based on oral histories and inspired by W. G. Sebald’s award-winning novel The Emigrants.

Picking up where last summer left off, the Culture Club series presented DJ sets, performance, and visual installations by Boston-area artists for energetic, exploratory nights on the harbor.

Choreographer Will Rawls spent a Summer Stages Dance @ ICA residency developing What Remains, a collaboration exploring the presence, exposure, and erasure of Black Americans with filmmaker John Lucas and poet Claudia Rankine.

Italian visual artist and choreographer Alessandro Sciarroni returned to the ICA with four professional jugglers harnessing discipline, focus, and concentration in a hypnotic reflection on the passing of time.

The ICA opened Watershed season two with new art and educational programming.

John Akomfrah’s monumental, six-channel film installation Purple combined stunning cinematography, archival footage, and a complex sound score to address the impacts of climate change.

In the Watershed’s Harbor Room, artist Evelyn Rydz shared—and solicited—stories of home through her Aquí y Allá (“here and there”) project and Comida Casera (“homemade food”) community events.