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Room Tone was a 2026 solo exhibition by artist Adda Farcus (@toubab_adda) at Eureka College, curated by Alexander Martin.

Farcus writes that Room Tone is “a stage and environment of sound and color which explores mortality and climate change.” The exhibition included a series of poetry booklets, two installations, sound, and a film projection.

At the link in our bio, Jessica Ott (Bingham) (@slice.of.life.studio) and Farcus discuss Room Tone and what Farcus calls, “eco-grief and climate-driven anxiety.”

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Image: Adda Farcus, "the color Andrea Estrada, a funeral director, chose to represent her feelings about climate change," 2026. Four tall windows are covered in orange lighting gels, which cast a rusting orange glow through to the trees and vegetation outside. The fifth window is completely blacked out. On the floor below the windows is a sliver of the piece "Wake" which features colorful flowers with green leaves, dark chunks of various sized rock-like fragments, and other found objects that are displayed in a large circle. Image courtesy of Adda Farcus. Photo by Jade Minh-ha Nguyen @jd.ngn Image: Adda Farucs, "the color Andrea Estrada, a funeral director, chose to represent her feelings about climate change," 2026. Four tall windows are covered in orange lighting gels, which cast a rusting orange glow through to the trees and vegetation outside. The fifth window is completely blacked out. On the floor below the windows is a sliver of the piece "Wake" which features colorful flowers with green leaves, dark chunks of various sized rock-like fragments, and other found objects that are displayed in a large circle. Image courtesy of Adda Farcus. Photo by Jade Minh-ha Nguyen.

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♋ 36 is the year of the cast brass unicorn clip and cat pants 🙂‍↕️🎂😺

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Thrilled to begin sharing documentation from my new solo exhibition “underseers” @dunedinfineartcenter curated by @dannyolda, more to come this week✨💕✨💕

underseers
a solo exhibition by Jason Lazarus
5/29/2026 - 8/16/2026
Dunedin Fine Art Center, Dunedin, FL

“the antonyms of overseers disappoint...”

underseers debuts new work from artist Jason Lazarus. Featuring new sculpture, concrete photography, sound, and object-archives, this solo exhibition presents newly practiced modes of seeing for the artist. By withholding representational images, Lazarus searches for methods of rewiring vision more intimately.

As part of the exhibition’s summer programming, Lazarus will debut a public reading of their new essay Listening for Monuments, a meditation on their growing used doorstop collection (TBA). In addition, the artist will engage the Dunedin Art Center’s summer youth arts program in the creation of new work.

BIO
Jason Lazarus is an artist exploring vision and visibility. His work includes a range of fluid methodologies: photography, found and appropriated images, text-as-image, photo-derived sculptures made individually and collaboratively with the public, live archives, film, video, LED light images, and public submission repositories among others. This expanded practice seeks new approaches of inquiry, embodiment, and bearing witness through both individual and collective research. As part of his current practice, he’s offering free editing and support to anyone who would like to write an Accessibility Statement for the first time, simply email jasonlazarus.photo@gmail.com

Exhibitions are also communities of feeling and mutual support, heartfelt thanks to:
Ali Feser
Ash Itinger / Paley Institute
Becca Wahl
Danny Olda
Dr. Minas / Paley Institute
Dr. Radouil Tzekov, MD, Ph.D., FARVO
Kristen Roles
Emma Mcmillan
Irineo Cabreras Jr.
Jennifer Lazarus
John Byrd
Laura Meckling
Lindsey Schoenholtz
Laura Meckling
Lauren Gourges
Michael Lonchar
Karl Kelly / Mount Vision Pastel Company
Patrick Carew
Steven Coppolecchia, PT, DPT, OCS
Sue Barry
USF School of Art and Art History
Warren Cockerham
And as always my entire family who have seen me through decades<3

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I loved learning more about everyone’s work last night during a virtual talk for “The Forest was Rebuilt with Scrap and Ply,” curated by @katie_hargrave_ & @meredithlauralynn, at the @wiregrassmuseum. The show features work by Margaret Curtis (@margarcur), Adda Farcus (@toubab_adda), Katie Kehoe (@kehoe_k), @cm0lina (Cristina Molina) & Jonathan Traviesa (@jonathantraviesa), and me.

The exhibition runs through June 27, so there are still a couple of weeks to catch it 💚

From the curatorial statement, the exhibition “brings together six artists based in the Southeast who explore beauty, awareness, grief, and resilience in response to intensifying natural disasters and environmental change. The exhibition takes its name from Margaret Curtis’s monumental painting, which presents a powerful vision of a present shaped by ecological disruption.”

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Adda Farcus, Aimee Jones, Alex Schechter, Amy Yoes, Becca Wahl, Carola Miles, Christl Stringer, Christian Casas, Darlene Gold, Dessarae Bassil, Grace Varner, Hedy, Jessi Sherbet, Kitty Davies, KJ Skidmore, Kristen Roles, Madie Gotshall, Mason Dowling, Myles Roven, Natalia Kraviec, Neil Bender, Noelle Mason, Olin Fritz, Rory Torstensson, and Willow Wells.
Curated by Trinidad Oribio

*Not publicly accessible to anyone*

#galleryopening #contemporaryart

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ICYMI: Issue 13: trans eco horror is Smoke and Mold’s most ambitious issue yet. It features six original works of fiction by Anemone @anemonefrances, Fariha @larva_ex_machina, Crystal Odelle @crystal_ography, Cody Sooy @ruecodey, T.R. Steele, and Jackie Vondross. Each of these feature a unique illustration in the style of a book cover by six trans artists: Evangeline Gallagher @evangelinegallagher, Lillie J. Harris @lilliejharris, Hal Schrieve @howlmarin, Rani Som @biche_bash, Adam Ponto @gay.infamous, and Malachi Lily. Swipe through to see their art bring these stories to life. This issue also includes sculpture and poetry by Pablo V. Cazares @pabloVcazares and Adda Farcus @toubab_adda.
👻🍄
As always, we keep our issues intentionally small so that readers can engage with every piece. This time we really packed it in! Putting this issue together really crystallized a lot about what smoke and mold has come to represent as a journal and as a time-based publishing project. This is true desire to live inside of decay, inside of the smoke and mold that have come to live inside our airways. This is horror that aims to rewrite the position of the trans human, of the trans body, within the networks of “natural” entanglement. So enjoy this 13th issue of trans eco horror, become one with the centipede inside, and we’ll see you on the other side.
🔗
Link in our bio to the full issue. We will expire, and so will you, but not yet.

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from the group exhibition, "The Forest was Rebuilt with Scrap and Ply" currently on view until June 27th @wiregrassmuseum, curated by @katie_hargrave_ and @meredithlauralynn. Featuring works by @margarcur @toubab_adda @cm0lina @jonathantraviesa @christinarenfervogel and myself - all artists based in the southeast, whose work addresses intensifying natural disasters and environmental change.

I’m so grateful to be presenting work alongside this immensely talented group of artists with so much thanks to the curators for their thoughtfulness in conceiving this exhibition and to the Wiregrass Museum for presenting this timely work to the public.

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Thank you to curators @katie_hargrave_ & @meredithlauralynn for organizing “The Forest was Rebuilt with Scrap and Ply” at the @wiregrassmuseum, featuring work by Margaret Curtis (@margarcur), Adda Farcus (@toubab_adda), Katie Kehoe (@kehoe_k), @cm0lina (Cristina Molina) & Jonathan Traviesa (@jonathantraviesa), and me. Thank you also to the Wiregrass team!

From the curatorial statement, the exhibition “brings together six artists based in the Southeast who explore beauty, awareness, grief, and resilience in response to intensifying natural disasters and environmental change. The exhibition takes its name from Margaret Curtis’s monumental painting, which presents a powerful vision of a present shaped by ecological disruption.”

The exhibition runs through June 27.

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Special day to be with friends! Thank you @project1612 @midamericacollegeartassoc for revisiting this work and care! I feel very lucky to have a community near and far 💙

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Adda Farcus (they/them) is an activist, artist, curator, feminist, organizer, poet, quasi-linguist, teacher, and writer. They received their MFA in visual art from the University of Illinois at Chicago and participate in the Climate Psychological Alliance and co-curate for the nomadic exhibition project, Lease Agreement. Their work has been exhibited at numerous venues, including the Modern Museum of Art Fort Worth; Vox Populi, Philadelphia; the American University Museum; and the Advance Art Museum in Changsha, China. Farcus’s academic writing has been published in “Art Education” and the “Journal of Second Language Writing” and their creative writing has been published in “Rattle: A Journal at the Convergence of Art and Writing,” “Funny Looking Dog Quarterly,” and “Kolaj” among others. Farcus is the Studio Foundations Coordinator and Assistant Professor of Instruction at the University of South Florida. They identify as genderqueer. “death doula Ames Meeks chose this color to represent their feelings about climate change”
video (6:31), 2026.

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Issue 13: trans eco horror issue includes sculpture and poetry by Pablo V. Cazares @pabloVcazares and Adda Farcus @toubab_adda.

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Read the full issue at the link in bio!

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So thrilled to be able to bring @toubab_adda to Eureka!

Room Tone will be open from March 20th to April 17th.

Adda will be giving their talk as our 71st Annual Jackson lecture on the March 20th from 5-6 in Becker Auditorium.

The reception and exhibition will follow from 6-8 in Burgess Hall Memorial Gallery.

Feel free to reach out if you have any questions about the exhibition!

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