Hajra Waheed, Landscape 1–9, 2019, oil on tin, each 5 × 7".

Hajra Waheed, Landscape 1–9, 2019, oil on tin, each 5 × 7".

Hajra Waheed

The Power Plant

If an exhibition is a letter, to whom is it addressed? The viewer is the obvious answer, but artworks also, of course, direct themselves to others: lovers and children, mentors and colleagues, unknown future audiences who might find within the work a blueprint for radical acts of hope and defiance.

“Hold Everything Dear,” Hajra Waheed’s current solo show, has at its heart such an epistolary address. Titled after a 2007 collection of John Berger’s essays, the show builds on a 2017 performance in which the artist manipulated a sheet of black cinefoil on a light projector, revealing a constellation of tiny pinhole stars, while an audio recording relayed a letter her sister wrote following the 2015 Paris attacks, meditating on cycles of colonial violence. Spanning dozens of new works on paper as well as recent paintings, collages, video, sculptures, and installations, Waheed’s exhibition is

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