Until That Day

Nari Ward

Deste Foundation Project Space

Hydra

Jun 23–Oct 31, 2026June 23–October 31, 2026

Hydra

This year, the Slaughterhouse Project on Hydra will feature Until That Day, an exhibition by Nari Ward (b. 1963, St. Andrew, Jamaica; lives and works in New York), who is renowned for his sculptural installations composed of discarded material found and collected in his neighborhood. By re-contextualizing these found objects, Ward creates thought-provoking juxtapositions that address social and political issues surrounding race, poverty, and consumer culture.

Until That Day addresses the social and political realities of the African population in Greece, a community that has lived in the region throughout the twentieth and twenty-first centuries. For the exhibition at the Slaughterhouse on Hydra, I invited Aggelos Aggelou—a singer whose music reflects the storied traditions of the Greek folk genre rebetika—as well as other Afro-Greek musicians to perform a response to the 1963 address by His Majesty Haile Selassie I, Emperor of Ethiopia, to the United Nations, a speech in which he pleads for global cooperation between nations. The title of the exhibition takes its name from Selassie’s refrain: “until that day, the dream of lasting peace and world citizenship and the rule of international morality will remain but a fleeting illusion, to be pursued but never attained.” Selassie’s warning—which Bob Marley adapted in the lyrics to his 1976 song “War”—was that humanity will never reach its full potential unless we recognize and uplift each other across national and racial boundaries. This has resonances across world history, including the present-day alienation and disenfranchisement of African immigrants and refugees within Greek society. It is my hope—especially as the world plunges deeper into nationalism and xenophobia—that this project will shine a light not only on the struggles of the Afro-Greeks but also on their vibrant and varied cultural contributions. Their presence in this country makes it stronger; we will sing of it “until that day” it is embraced.

—Nari Ward

Nari Ward

Power Anchor, 2026

Nari Ward

Travel Flag, below, 2026

Press Highlights

Palmer

The Art World Flocks to Hydra, Where Nari Ward Takes Center Stage

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In a career spanning over three decades, artist Nari Ward (b. 1963, St. Andrew, Jamaica; lives and works in New York, NY) has gained recognition for an interdisciplinary and multimedia practice that engages historical and contemporary discourse around race, migration, democracy, identity, and community. Ward is best known for his wall and installation-based sculptural works created primarily from materials found and collected throughout Harlem, his longtime neighborhood in New York. These objects imbue his work with a sense of intimacy, reflecting the shared experience of community. Combining materials to re-contextualize their original meanings, Ward’s assemblages probe a range of spiritual and conceptual issues through literal and metaphorical juxtaposition.

Materially specific but conceptually ambiguous, Ward’s multimedia and performance works unfold into many possible interpretations—as materials and movements accumulate, so too do signifiers. Each found object—including baseball bats, strollers, shoelaces, cash registers, bottles, and shopping carts—contains a multiplicity of meanings and histories that speak to both collective experience and individual memory. The intentional synthesis of such objects, combined with the more traditional disciplines of painting, sculpture, and performance, allows for varied interpretations, inviting viewers to project their own associations and transcend the specific context of any given work. At the same time, Ward’s art reflects on the complexities of contemporary society, transforming overlooked material through artmaking to foreground forgotten histories or marginalized communities.

Learn about the artist