Exploring Boundaries at the New Institute of Contemporary Art Space

The Institute of Contemporary Art San Francisco (ICA SF) reveals its latest exhibit, offering a provocative exploration of decay, consumerism, and cultural identity.

The Institute of Contemporary Art San Francisco‘s new space on Montgomery feels unexpectedly cavernous. Stepping through its door on a rainy afternoon last week, I immediately noticed the atmosphere—vast, open, and welcoming. This non-collecting museum presents itself as a space where artists can push boundaries, all while delving into the critical political and cultural questions of our time. Admission is free, and even more interesting, there’s a claw machine in the basement, adding a playful element to an otherwise thought-provoking experience. With these factors combined, the ICA SF has quickly become my kind of place.

Decay and Consumerism Through the Lens of Kathleen Ryan

Upon entering, I was drawn to what seemed to be sculptures of large, moldy lemons by artist Kathleen Ryan. Crafted from found objects and semi-precious stones, the spots of decay glittered, almost inviting me closer despite their unsettling beauty. This was an artist who had clearly studied the architecture of rot. Ryan intentionally crafted the “good” part of the lemon rind with mass-produced beads, while the decaying sections were made from precious stones, crystals, and pearls. The piece raised an important question: where do we, as viewers, place worth in these objects? Ryan’s work plays with this idea of value and its shifting meaning as materials degrade and transform.

A Larger Commentary on Waste: “Screwdriver” and Consumer Culture

Further into the exhibit, a larger piece, Screwdriver, continued the themes of decay and consumerism. The piece looked like a giant orange slice with a cherry on top, skewered through with an umbrella—reminiscent of a cocktail garnish. Ryan’s work, influenced by her upbringing in Southern California, takes on the “ultra-American promise of decadence.” The works pointed to over-consumption, waste, and the contradictory nature of a culture obsessed with material excess.

Community Art and Teen Voices: A Thoughtful Display

As I wandered through the first floor, I encountered a collection of bicycle print presses from City Studios—a much-loved feature at the ICA SF. Nearby, a thoughtful display of teen and community art filled the back of the space, showcasing voices and experiences from outside the traditional art world.

“The Poetics of Dimensions“: Non-Art That Speaks to History

It wasn’t until I ventured into the lower floor to explore The Poetics of Dimensions, curated by Larry Ossei-Mensah, that I was truly stunned into silence. For the most part, the artists in this show used found objects and “non-art” materials to create pieces that served as poetic reminders of personal histories. The works called attention to our dynamic relationship with everyday objects, such as old clothes, and how these items inform the people we are and the stories we will leave behind.

One of the most striking pieces in the show was Dusk, 2012 by Shinique Smith. A landscape of rolling hills and vibrant blue skies, it was created entirely from old clothes and cloth, held gently to the canvas by delicate netting. The piece felt alive with energy, a testament to how even the most mundane objects can transform into something beautiful when viewed through the right lens.

The Boldness of Akinbola and Ward

Another standout was Anthony Akinbola’s Neopolitan, a canvas of color and horizontal lines made entirely from durags. Akinbola used Duchamp’s example of “ready-mades” to create a powerful statement on cultural pride and social commentary. The piece was not only visually captivating, but also deeply sensory. I had to resist the urge to reach out and touch it.

Taking up an entire wall, Nari Ward’s piece made a strong impression. Shoelaces were carefully inserted into the walls to spell out The Martyrs of the Race Course. Intrigued by the multiple meanings of these words, I stepped closer for a more intimate look. The title referenced a phrase inscribed at one of the first documented Memorial Day events in the United States. During the final days of the Civil War, hundreds of Union soldiers died at a race track used by the Confederate Army as a prisoner-of-war camp in Charleston, South Carolina. After the war ended, emancipated people buried the dead and built an archway at the cemetery entrance. This archway was titled “Martyrs of the Race Course.”

Spelled out in shoelaces, the piece had an eerie quality that spoke to those who fought for freedom. The shoelaces could hold shoes in place for someone to walk away, but here, they also symbolized the fragile nature of both freedom and memory. In the context of this memorial, the piece becomes a stark reminder that freedom can be fleeting, and memorials are not permanent.

A Thought-Provoking Experience

The ICA SF’s new space offers a thought-provoking, engaging, and at times unsettling experience. From Ryan’s moldy lemons to Akinbola’s durag art and Ward’s haunting memorial to the fallen, the exhibits here force us to confront themes of decay, consumerism, and history. The museum encourages us to question the value we place on objects, the stories they hold, and the fleeting nature of both our lives and our legacies.

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