We take this day to honor all Indigenous Peoples past, present, and future, including the Massachusett tribe who first inhabited the Shawmut Peninsula where many Now + There projects have occurred.

We’re working from home too, which means curating from the kitchen table. Click to read about our second virtual studio visit with artist Maya Gurantz, who uses film, installation, and photography to refocus common understandings of our shared—and not-so-shared—histories.

Read Assistant Curator Leah Tripplett Harrington’s personal reflection and curatorial exploration of what it means to take down confederate and colonialist monuments and other memorials that are inherently anti-Black.

We’re working from home too, which means curating from the kitchen table. Click to read about our second virtual studio visit with artist Joanna Tam whose interdisciplinary installations amplify the voices of others and reflect on the artist’s lived immigration experiences. Click to read more about Joanna and where she’s finding hope right now.

We’re working from home too, which means curating from the kitchen table. Click to read about our first virtual studio visit with interdisciplinary artist Zsuzsanna Varga-Szegedi whose work blending media to “analyze” absence, distortion, and distance is particularly poignant during this time. Click to read more about Zsuzi and her perspective on “possibility”

Our Assistant Curator, Leah Triplett Harrington, reviews the recently opened MassArt Art Museum’s (MAAM) inaugural shows, including “Valkyrie Mumbet,” “Game Changers” and “Yesterday is Here.”

Click to listen to Mass Cultural Council’s Anita Walker interview N+T’s Kate Gilbert for the Creative Minds Out Loud podcast!

Writer Arielle Gray interviews Rob “ProBlak” Gibbs about the traditions and dangers of being a practicing graffiti artist, even amid a rise in the desire for “street art”.

A call for Boston to fully embrace temporary public art as a catalyst for the cultural change we seek.

A call for Boston to fully embrace temporary public art as a catalyst for the cultural change we seek.

Leah Triplett Harrington's latest blog post reflects on Arts in Transit and how its producer, UrbanArts, influences N+T today. 

“I recently drove 1,000 miles of deserted Arizona roads to see some of our country’s most memorable landscapes including Sedona’s red rocks, the Grand Canyon, and Monument Valley.” Kate Gilbert reflects on travel and its tendency to reminded one of what they already know and cherish.

Guest contributor Conor MacDonald explores the evolution of Kenmore Square as a gathering place, a social nexus point, and now, an iconic location for site-specific public art.

N+T Critic-in-Residence Leah Triplett Harrington explores parallels in Boston’s public art in the 1980’s and today.

The first post from N+T's 2018 Critic-in-Residence, Leah Triplett Harrington explores how UrbanArts has became Now and There and how bringing Bostonians artwork considering place, ecology, and gentrification relates to public artwork presented in Boston in the 80s. Is Boston’s public art - permanent or temporary - a way that we can make sense of the enormity of economic and political “transactions” happening globally?

Emily Glaser explores the ways that memory, self, and community are reflected in Agnes Varda and JR’s "Faces Places."

Now + There's Kate Gilbert reviews some of Berlin's beloved art and architecture—from commemorative permanent artworks to temporary street art—to discover what it takes to build a public art city. 

I’d like to talk about what happened at Slideshow when the projector wasn’t rolling. About the physical slides themselves, the light table, the loupes, the experience of looking through someone else’s eyes, and the power of a public art object to spark connection and elicit a sense of shared vulnerability between strangers.

Artist Jennifer Dalton Vincent reflects on the 200+ companies vying to build walls and anti-walls for the US-Mexico border.

A feminist approach to creating and facilitating public art helps us flex our empathy muscles by increasing a tolerance for ambiguity and a diversity of perspectives.

How have the words you spoke at Public Trust with Paul Ramirez Jonas taken up residence in your life? Reflections one month out and an invitation to share your story about how making a promise, and making it public, has inspired you to take action and live more bravely. (Plus win a gift certificate to get your promise framed!)

Leah Triplett Harrington, editor of Big Red & Shiny, explores how art and time-based work can be recorded or documented in this final essay in our four-part collaboration with Big, Red & Shiny and Alter Projects.

Malcolm Gay, Arts Reporter for The Boston Globe, sat down with artist Paul Ramirez Jonas and N+T Director Kate Gilbert for a look inside Public Trust. 

Maggie Cavallo wrestles with the thorny issue of addressing quality in socially engaged art in this guest post, the third in our four-part series Art in Service with Big Red & Shiny and Alter Projects.

Five artists, curators and instigators answer the question: "Who is your practice for?" and their answers are as complex and generous as their work. With Che Anderson, Jennie Carlise, William Chambers, Elisa Hamilton, and Lori Lobenstine.

This first post in a four-part series entitled Art in Service, a collaboration between N+T and Big, Red & Shiny, explores the definitions, challenges and modes of exchange in socially engaged art practices.

N+T Director Kate Gilbert shares her experience at Christo’s latest work, The Floating Piers, in this guest post. 

"We are all there to walk on new land, to experience a fantasy like walking on the ceiling that we’ve envisioned in our youth or during a dreamy state. With collars of orange glowing under our necks, we walk together."