AT THE MIDPOINT of “Forecast Form: Art in the Caribbean Diaspora, 1990s–Today,” there appears, curiously enough, a Filipino artist: David Medalla, whose signature Cloud Canyons, 1963–2014, oozes wormlike strands of soap bubbles from vertical Perspex tubes. By pointedly venturing beyond her own exhibition’s geographical and chronological frames, curator Carla Acevedo-Yates is alluding to both colonialism and migration. The US acquired the Philippines, along with Guam, Puerto Rico, and Cuba, from Spain in the 1898 Treaty of Paris, drawing its own map of empire. Medalla