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Kamari Carter

@kamaricarterstudio

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Multidisciplinary Artist // Night Owl
@academymuseum until July 2027
@mocaarlington until January 2027
@art_omi AIR 2026

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Opening October 3 as part of Assembly 2026, to eat out their substance brings together artists who intersect with municipal, civic, and technological infrastructures as the basis of their practice. The exhibition title borrows from the charged rhetoric of the Declaration of Independence, which articulates civic grievances through vivid references to extraction and depletion.

Reframed by curator Jesse Bandler Firestone, the phrase links the nation’s founding rhetoric to contemporary systems of administrative power, positioning artists as interventionists who reclaim agency through acts of access, misuse, and refusal.

Julia Weist infiltrates restricted surveillance systems through her work as a licensed private investigator; Maia Chao and Fred Schmidt-Arenales reveal municipal waste as a site of labor, care, and the democratic exchange of hopes and shattered dreams; and Kamari Carter uses megaphones to relay police radio transmissions from the capital district in DC, revealing communication networks in an act of disobedience and surveillance.

Rather than treating infrastructure as neutral, to eat out their substance reveals it as lived, uneven, and performative. The exhibition asks what becomes visible when artists enter the very systems that govern participation in public life.

Join us at Art After Hours and celebrate the opening of Assembly 2026 and our other new exhibitions!

Images:
1. Maia Chao and Fred Schmidt-Arenales, Waste Scenes, 2024, Two-channel video (40 min. 39 sec.) and custom screen, Dimensions variable. Courtesy the artists.

2. Kamari Carter, Patriot Act, 2024. Oil-based enamel on megaphones, three-channel live audio broadcasts, Dimensions variable. Courtesy the artist and Microscope Gallery, New York.

3. Julia Weist, Curators Agree (Department of Cultural Affairs), 2025, Archival pigment print, 24 x 32 in. Courtesy the artist and Moskowitz Bayse, Los Angeles.

4. Maia Chao and Fred Schmidt-Arenales, Waste Scenes, 2024, Two-channel video (40 min. 39 sec.) and custom screen, Dimensions variable. Courtesy the artists.

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Join us on October 3, 5pm-8pm for Art After Hours and celebrate the opening of Assembly 2026, the fourth iteration of MoCA Arlington’s biennial exhibition program! Enjoy the exhibitions and meet curators and exhibiting artists.

Assembly 2026 comprises four seperate exhibitions, featuring work by 16 contemporary artists. With an eye towards the 250th anniversary of the signing of the Declaration of Independence, each exhibition is grounded in a specific geography within the regions that made up the original thirteen colonies.

Assembly 2026 includes:

Common Wealth
Curated by Colleen Foran
Beatrice Opokua Atencah, Michael Dela Dika, Nicholas Malik Izon

Dusk in the Dawnland
Curated by Aaron Rosen
Summer J. Hart, Michael Takeo Magruder, Jan Piribeck, Brian Smith, Marina Yacoe

New South, Ground Truth
Curated by Karen Comer Lowe
Paul Stephen Benjamin, Sheila Pree Bright, Shanequa Gay, and Michi Meko

to eat out their substance
Curated by Jessie Bandler Firestone
Kamari Carter, Maia Chao & Fred Schmidt-Arenales, Julia Weist

Images:

1. Michael Dela Dika, Persistence of Fragile Memories, 2025, Treated raw reclaimed clay, excavated 1860s vessels from Philadelphia, reclaimed wooden pallet, 27 x 25 x 4.5 in. Courtesy the artist.

2. Brian Smith, Homo Aquaticus, 2024. Acrylic, glass, and stone beads, barnacles, shells, crystals, pins, foam, adhesive, patinaed bronze pigment, welded steel, plexiglass, sand, found objects, 48 x 48 x 72 in. Courtesy the artist.

3. Michi Meko, Shimmer: At the Edge of Light, 2025, Acrylic paint, aerosol, gouache,, hologram glitter, gold leaf, reflective paper on panel, colored pencil, pastel, 60 in. dia. Courtesy the artist and Mariane Ibrahim (Chicago, Paris, Mexico City).

4. Maia Chao and Fred Schmidt-Arenales, Waste Scenes, 2024. Two-channel video (40 min. 39 sec.) and custom screen, Dimensions variable. Courtesy the artists.

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Snaps and snippets 👁️ from “A Fantasy of Having Home” at @flux_factory

Diving into personal history to inform the present, bringing pre-1987 taiwan into 2026 usa. Having a thought that as a collective people, we are all carrying some piece, remnant, sense, spirit, of stories, resources, strategies, roadmaps, of liberatory legacies. It only makes sense to offer and receive and share notes with one another.

Many thanks and appreciation to @flux_factory @kamaricarterstudio @kennedyhollins @afutureancient 🙏🙏🙏

photos/videos: @flux_factory @kennedyhollins @ihsuenchen

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For the past few years, I've been connected with @werepjustice , supporting their Ambassador Program. This year, I was fortunate to serve as the Creative Producer for the 2026 Ambassador class, guiding Ambassadors, teaching filmmaking workshops, and producing the films from development to completion.

Last Thursday, the Ambassadors premiered their films at the DGA, and beyond just being so proud, I am grateful to have learned the true value of art in shifting narratives, the power of radical access, and how to follow the lead of our justice-impacted comrades and activists in ending mass incarceration.

Big thanks to the staff at Represent Justice! A special s/o to Denise, from whom I learned so much. Forever grateful.

I also want to lift and thank all the collaborators and filmmakers from around the country (and Mexico!) who worked on these films and gave their love and support. We could not have done this without you all!

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The last few weeks have been a truly extraordinary experience.

I met some of the most brilliant artists from around the world. Together we shared time and creative space: late-night conversations, star signs, tarot cards, tears, laughter, dancing, singing, and an unforgettable spontaneous procession celebrating matriarchal power.

We arrived as strangers and left as family. I was surrounded by a community of artists whose wisdom, sensitivity, kindness, humanity, and friendship have left a lasting mark on me. Together we experienced the vivid joy of being fully present, and I was reminded to make and to play with a lighter touch.

My deepest thanks to the @art_omi team and everyone who makes this place possible. You have created something rare and precious.

This residency was a constellation of people whose paths aligned for a single, unrepeatable moment. My heart leaves filled with light.

🤍

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@art_omi what a journey.

It’s hard to put these past three and a half weeks into words. They somehow felt both fleeting and like an entire lifetime.

From long days in the studio to washing dishes together, sharing meals, conversations, doubts, laughter, and looking after one another, this experience became so much more than a residency. It became a community.

I think we all knew this cohort was special. What brought us together wasn’t just our work, but a shared kindness and generosity that made every day feel lighter.

I’m leaving with new perspectives, endless inspiration, and friendships I know will stay with me for years to come.

Thank you to everyone who made this experience what it was, and thank you, Art Omi, for creating a place where artists can not only make work, but truly connect. This one will stay carved in my heart.

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Hello Orange Sun, now I’m ready to go from Sunrise to Sunset. 🌞🍊😎.
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Dreamy Museum (Sunrise Sunset), 2026.
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2026년 여름 Art Omi 레지던시에 참여하며 좋은 시간을 가졌고, 잊지못할 여름을 보낼 수 있었습니다. 훌륭한 작가분들, 스텝분들, 큐레이터, 비평가들을 만나 좋은 시간을 보낼 수 있었고, 앞으로 작업을 위한 좋은 영감을 받을 수 있었습니다.

Art Omi, 한화문화재단, 함께한 모든 작가, 비평가, 큐레이터분들께 감사드리고, 앞으로 각자의 모든 앞날에 좋은 일들만 가득하시길 기원합니다.

그리고 이곳에서 작업할 수 있도록 누구보다 많은 도움을 준 제 아내와 아이들에게 진심으로 감사의 마음을 전합니다.

I had an unforgettable summer at the Art Omi residency in 2026. It was a privilege to spend time with such inspiring artists, dedicated staff, curators, and critics, and I leave with lasting memories and new inspiration for my future work.

My sincere thanks to Art Omi, the Hanwha Foundation, and everyone I had the pleasure of meeting during this residency. I wish you all the very best in everything that lies ahead.

Finally, my deepest gratitude goes to my wife and our children, whose love and support made this experience possible.
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#summerdance
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@art_omi
@hanwhafoundation

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Grateful to be a part of the 2026 artist cohort at Art Omi ✨
@art_omi
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Repost :
⚘ We are delighted to welcome 24 artists and two critics/curators from 20 countries around the globe for our annual Art Omi: Artists residency! During their time in the Hudson Valley, the 2026 cohort, representing a wide range of artistic styles and practices, will have the opportunity to experiment, collaborate, and engage in cultural and creative exchange.

We invite you to explore the works developed in residence with an inside look into the Art Omi Studio Barn on Saturday, July 11 from 1–4 PM during Art Omi: Artists Open Studios. This event is free and open to the public.

𝗠𝗲𝗲𝘁 𝗧𝗵𝗲 𝗔𝗿𝘁𝗶𝘀𝘁𝘀

• Shannon Alonzo | Trinidad and Tobago
• Theresah Ankomah | Ghana
• Nada Baraka | Egypt
• Marilyn Boror | Guatemala
• Kamari Carter | U.S.
• Oletha DeVane | U.S.
• Camilo Guinot | Argentina
• Jamie Ho | U.S.
• Tyson Houseman | Treaty Six Territory
• Irati Inoriza | Basque Country
• Wonwoo Lee | Korea
• Owen Leong | Australia
• Justin Lim | Malaysia
• Laura Nugent | U.S.
• Fadekemi Ogunsanya | Nigeria
• Sadaf Padder (Critic/Curator-in-Residence) | U.S.
• Manish Pushkale | India
• Charlie Quezada | Dominican Republic
• Alida Rodrigues | Angola/U.K.
• Armando Rosales-Rivero | Venezuela/Mexico
• Neli Ružić | Croatia
• Niga Salam | Iraqi Kurdistan
• Susan Snodgrass (Critic/Curator-in-Residence) | U.S.
• Jay Sylvester | U.S.
• Angela Tiatia | Australia
• Stanley Wany | Canada

#artistresidency #artomi #hudsonvalley #newyork

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𝐂𝐨𝐝𝐞𝐬 ▄▀▄▀▄▀
excerpt from a 𝐁𝐑𝐎𝐈𝐋𝐄𝐑 𝐫𝐞𝐬𝐢𝐝𝐞𝐧𝐜𝐲 𝐩𝐞𝐫𝐟𝐨𝐫𝐦𝐚𝐧𝐜𝐞
December 13, 2025

Codes was a collaborative audio-visual performance developed in residency by Kamari Carter and Gladstone Deluxe using data extracted from live police scanner transmissions. Deriving from Carter’s research-oriented practice on policing, incarceration, Black aesthetics, and surveillance, and Deluxe’s haptic, Afrological and techno-inspired analog compositions, Codes was a synthesis that sought to elevate the obfuscated.

Watch the full performance on our YouTube channel → link in bio 🔗

🔵

@kamaricarterstudio
@gladstonedeluxe

video by @55ruecerat

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So great to have @kamaricarterstudio live in studio today for a special broadcast and discussion of his audio art work with @gladstonedeluxe, as part of his artist residency at the @mediaarchaeologylab! If you missed the conversation, you’ll want to head over to our SoundCloud to hear it in full: https://soundcloud.com/radio1190/kamari-carter 🎙️

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This#HotPicksThursday, meet Kamari Carter, a New York-based artist working primarily with sound, video, installation, and performance. His practice circumvents materiality and familiarity through a variety of recording and amplification techniques to investigate notions such as space, systems of identity, oppression, control, and surveillance.

His work has been exhibited at Museum of Modern Art (MoMA), New York; Perez Art Museum Miami, Miami, FL; and Rhode Island School of Design (RISD) Museum, Providence, RI, among others, and has been featured in publications including Artnet, Flash Art, Hyperallergic, and Whitewall, among others. Carter holds a BFA from California Institute of the Arts (CalArts) and an MFA from Columbia University. Kamari Carter is represented by Microscope Gallery in New York City.

Image: Kamari Carter, “Frozen Flag,” 2024. American flag, commercial freezer, ice. Dimensions variable

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WHO IS SEEN interviews Kamari Carter at White Columns, New York
in collaboration with Precog

A performance rooted in sound, structure, and presence, where microphones become bodies and meaning unfolds over time.

In a moment where visibility itself feels unstable, the work holds space for listening, for tension, and for what remains.

#whitecolumns #precog

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