Working Information: Shared Imaginings, New Futures on the Bronx Museum is a dwelling laboratory for modern artwork, neighborhood constructing, and new media. Via interactive works, artists who’re actively engaged in inclusive modes of information manufacturing invite the general public to ponder essential themes like socially responsive design, intergenerational reminiscence, and ancestral knowledge. United by a deal with ecological and technological ecosystems within the Bronx and past, these works make use of coding, gardening, listening, and dancing.
Working Information begins with installations that grapple with sustainability, each ecological and communal. Mary Mattingly’s “Rooted” (2024–25) is a multi-tier shelving unit teeming with flora. The glass jars and terrariums include lush flora from New York, significantly crops which may be capable to thrive as local weather change impacts town. On the “Oral Futures Booth” (2025), designed by Black Quantum Futurism (Rasheedah Phillips and Camae Ayewa), guests can document reflections and needs for the place they name dwelling, to participate in constructing a “quantum time capsule.” The artists outline a quantum time capsule as a multitemporal portal for speaking with ancestors and future generations.
Mary Mattingly, “Rooted” (2024–25) 
Black Quantum Futurism’s ongoing “Oral Futures Booth” (begun 2015) in Working Information on the Bronx Museum
Printed on the wall alongside the ramp heading to the following gallery is Lynne Yun’s “Concourse” (2025), a typeface designed in collaboration with the Bronx Museum’s Teen Council impressed by the Bronx’s visible panorama. The curves and angles of the font parallel the hills and valleys that make the format of the Bronx distinctive in comparison with different flatter and extra grid-like boroughs. The higher gallery comprises fascinating, interactive works comparable to Stephanie Dinkins’s “BronxBot” (2025), which makes use of an AI chatbot to have conversations concerning the Bronx with guests. Close by, Melanie Hoff’s “Dance Poem Revolution” (2024) encourages individuals to generate summary, political poems by means of stepping on a Dance Dance Revolution dance pad. The poems are associated to what Hoff and neighborhood members think about as revolution within the Bronx, and are generated by means of open-source, movement-triggering software program. Phrases like “ashes,” “youth,” “violence,” and “pain” are among the many phrases the artist sourced collaboratively from neighborhood members. Such makes use of of artistic coding and AI in each works level to the probabilities of latest media in current modern artwork.
On the adjoining wall, “The Bronx Dictionary of Dark Matters” (2020–ongoing), an set up by artists Zainab Aliyu and American Artist, and the College for Poetic Computation, transforms a big, chalkboard-like wall into an expansive thoughts map of essential phrases, drawings, philosophies, and speculative potentialities associated to race, policing, surveillance, immigration, and different pressing social justice points. On the coronary heart of the set up is an interactive laptop that invitations guests to pick out a key time period and contribute their very own definitions. These dynamically seem on a display screen embedded within the wall, changing into a part of the ever-evolving dictionary of “dark matters” (a reference to Simone Browne’s groundbreaking textual content on racialized surveillance). Just like the darkish matter in physics, which is invisible but exerts actual power, ”darkish issues” describes the often-obscured forces of race and energy that profoundly affect society.
Lynne Yun, “Concourse” (2025)
Within the last gallery house, a number of works function sensible odes to Bronx lifeways. Azikiwe Mohammed’s “El carrito de comida de DeAndre / DeAndre’s Food Chart” (2025) attracts inspiration from the on a regular basis fruit carts discovered alongside Grand Concourse, a significant thoroughfare within the South Bronx. Close by, guests can sit on a pile of ornamental pillows to expertise “Cosmologyscape”(2024), an ongoing collaboration between Kite and Alisha B. Wormsley. The work contains a projected digital quilt composed of desires shared by guests, mixing Lakota visible iconography with Black American quilting traditions.
Ari Melenciano’s “Cosmeage” (2025) presents a filmic projection of digitally animated, improvised choreography, providing a brand new media interpretation of pan-African efficiency traditions. The title, a portmanteau of “cosmos” and “lineage,” fittingly displays the overarching spirit of the exhibition, which explores the intersections of ancestral data and modern digital practices.
Whereas the environmental impression of AI reminds us to make use of such applied sciences with care, Working Information thoughtfully engages with these instruments with out glorifying them. Most significantly, the exhibition is deeply attuned to the Bronx neighborhood it emerges from — an attentiveness that enormously enhances its significance. Throughout the exhibition, every artist takes critically the actual website — communities, landscapes, and politics — of the Bronx as a generative supply of inspiration and collaboration.
Melanie Hoff, “Dance Poem Revolution” (2024) 
Azikiwe Mohammed, “El carrito de comida de DeAndre / DeAndre’s Food Chart” (2025)
Kite and Alisha B. Wormsley, “Cosmologyscape” (2024)
Stephanie Dinkins, “BronxBot” (2025)
Working Information: Shared Imaginings, New Futures continues on the Bronx Museum (1040 Grand Concourse, Concourse Village, The Bronx) by means of July 6. The exhibition is a Visions2030 Challenge in collaboration with the Bronx Museum and curated by Vera Petukhova.
