Flores’s solo exhibition in Venice, titled “Sara Flores. From Other Worlds,” features monumental textile paintings and sculptures made from the netting used locally as bed canopies. She has also painted a flag in her signature style for the Shipibo people, as an affirmation of Indigenous self-determination.
“Sara’s practice is both prescient and profound,” Jay Jopling, founder of White Cube, wrote in an email. “Through its quiet, minimal insistence, her art speaks to the interconnectedness of everything and reminds us how humanity needs to remain respectful of our fragile place within the natural world order.”
Suzanne Kite
Suzanne Kite, an Oglala Lakota Nation artist, composer, scholar and researcher who lives and works in Catskill, N.Y., and directs the Wíhaŋyable S’a (pronounced wee-HAH-blay SAH) Center for Indigenous A.I., a research center at Bard College which Kite described in a phone interview as doing “interdisciplinary research that merges Indigenous knowledge with A.I. technology.”
“I am among the first Indigenous American artists to use machine learning in sculpture and performance,” she said.
At Frieze, Kite presents “Wíhaŋyablapi (of St. Louis)” (2026), a large installation coupled with a live performance that Kite developed with the nonprofit Counterpublic, which will take place on Wednesday and Thursday. The whole presentation is a preview of a larger public art project coming to St. Louis in the fall.
The work draws on Oglala Lakota women’s traditions of beading and porcupine quill work, two practices that are used to translate dreams, visions and cosmological knowledge into material form. Working from that tradition, Kite has constructed a map of St. Louis that highlighted the places where communities dream today: homes, gardens, parks and music venues.
