Artists Space

Shani Strand: Everything Must Be Returned

June 12 – August 15, 2026

Artists Space presents Everything Must Be Returned, the first New York, institutional solo exhibition by multidisciplinary artist Shani Strand. Through her work, Strand weaves together culturally inscribed materials and practices to examine how the visible—objects, architectures, and social performances—operates as a metonym for the invisible: ghosts, infrastructure, and history. For Artists Space, Strand has produced an immersive installation occupying the entire ground floor. It presents a newly commissioned film alongside an expansive display of interrelated sculptures whose materials bear the residue of historical encounter and entanglement.

On the left is an oblong ceramic sculpture of a ghost with its mouth open. In the ghost
Shani Strand, Duppy (Don’t Wait for Karma), 2024, 12.5 x 5.5 x 7.5 in, glazed ceramic, teeth fragments, chain, Empire brick. [On the left is an oblong ceramic sculpture of a ghost with its mouth open. In the ghost's left hand is a coiled chain. The other end of the chain is wrapped around a worn down brick that reads "EMPIRE."]

The film, titled R.I.P. He Deserves It, unfolds as a clown story and revenge fantasy, with the threat of “colonization in reverse” ever-present. Strand was inspired by Denise Ferreira da Silva’s book Unpayable Debt (2022), in which Ferreira da Silva examines the relationships among coloniality, raciality, and global capital from a Black feminist “poethical” perspective. Strand’s film considers the industrialization of wrought iron: from its emergence in Jamaica through the logic of sugar plantation machinery to its appropriation and capitalization by England during the Industrial Revolution. It reflects on how this theft was justified through colonial logics of ownership, extraction, and fear.

The film’s title is drawn from a quote by C.L.R. James on Hegel, while also alluding to Jamaican poet, singer, and folklorist Louise Bennett-Coverley’s (“Miss Lou”) poem Colonization in Reverse. Comprising eleven four-line stanzas, the poem satirizes the Windrush migration—the wave of Caribbean immigrants arriving in the United Kingdom. Strand reflects on the idea of “colonization in reverse” as it relates to contemporary American imperialism.

Guided by the question, “How might we imagine alternative moralities (or moral alienation) as methods for navigating social relations and accessing or evading violence?” Strand draws on trickster figures, including the duppy (a ghost or spirit in Jamaican Patois) and demonic angels, for a new series of sculptures. These figures, arranged across the entirety of the gallery, trace intersections of diasporic and historical narratives at the edges of violence and in spaces of resistance. Made from materials as varied as bamboo, rebar, JJJ Bricks, and ceramics, the sculptures are presented alongside and on top of site-specific resin pools. Together, they evoke geographies, superstitions, and lived experiences structured by violence.

In a blue-lit gallery space, two pairs of bamboo and rebar spears are curled at the tips and leant against the wall. To the right, various sculptures are arranged on the floor, including morning stars with cow horn spikes; a bamboo and rebar spear shaped into a rectangle; bricks wrapped in cowrie shells; a small oblong ceramic figure on a short stool; resin pools; and ceramic balls. On the wall, an orange stain appears to emerge from the floor.
Shani Strand: Everything Must Be Returned. Installation view, June 12 - August 15, 2026, Artists Space. Photo: Carter Seddon [In a blue-lit gallery space, two pairs of bamboo and rebar spears are curled at the tips and leant against the wall. To the right, various sculptures are arranged on the floor, including morning stars with cow horn spikes; a bamboo and rebar spear shaped into a rectangle; bricks wrapped in cowrie shells; a small oblong ceramic figure on a short stool; resin pools; and ceramic balls. On the wall, an orange stain appears to emerge from the floor.]
A sunlit gallery space is bisected by four columns through the middle. Various sculptures are arranged on the floor, including morning stars with cow horn spikes; two bamboo and rebar spears shaped into rectangles; bricks wrapped in cowrie shells; a small oblong ceramic figure on a short stool; resin pools; and ceramic balls. On the wall, an orange stain appears to emerge from the floor.
Shani Strand: Everything Must Be Returned. Installation view, June 12 - August 15, 2026, Artists Space. Photo: Carter Seddon [A sunlit gallery space is bisected by four columns through the middle. Various sculptures are arranged on the floor, including morning stars with cow horn spikes; two bamboo and rebar spears shaped into rectangles; bricks wrapped in cowrie shells; a small oblong ceramic figure on a short stool; resin pools; and ceramic balls. On the wall, an orange stain appears to emerge from the floor.]
A sunlit gallery space is bisected by four columns through the middle. Various sculptures are arranged on the floor, including morning stars with cow horn spikes; a bamboo and rebar spear shaped into a rectangle; bricks wrapped in cowrie shells; resin pools; and ceramic balls. On the wall, an orange stain appears to emerge from the floor.
Shani Strand: Everything Must Be Returned. Installation view, June 12 - August 15, 2026, Artists Space. Photo: Carter Seddon [A sunlit gallery space is bisected by four columns through the middle. Various sculptures are arranged on the floor, including morning stars with cow horn spikes; a bamboo and rebar spear shaped into a rectangle; bricks wrapped in cowrie shells; resin pools; and ceramic balls. On the wall, an orange stain appears to emerge from the floor.]
A sunlit gallery space is filled with four individual morning stars and two pairs connected by a chrome spindles, which are various shades of black, brown, and white. On the wall, an orange stain appears to emerge from the floor.
Shani Strand: Everything Must Be Returned. Installation view, June 12 - August 15, 2026, Artists Space. Photo: Carter Seddon [A sunlit gallery space is filled with four individual morning stars and two pairs connected by a chrome spindles, which are various shades of black, brown, and white. On the wall, an orange stain appears to emerge from the floor.]
A blue-lit gallery space is filled with various sculptures arranged on the floor, including including morning stars with cow horn spikes; two bamboo and rebar spears shaped into rectangles; bricks wrapped in cowrie shells; sugar cane rollers; resin pools; and ceramic balls. On the wall, an orange stain appears to emerge from the floor.
Shani Strand: Everything Must Be Returned. Installation view, June 12 - August 15, 2026, Artists Space. Photo: Carter Seddon [A blue-lit gallery space is filled with various sculptures arranged on the floor, including including morning stars with cow horn spikes; two bamboo and rebar spears shaped into rectangles; bricks wrapped in cowrie shells; sugar cane rollers; resin pools; and ceramic balls. On the wall, an orange stain appears to emerge from the floor.]
Three columns are centered in a blue-lit gallery space. Various sculptures are arranged on the floor, including morning stars with cow horn spikes; two bamboo and rebar spears shaped into rectangles; bricks wrapped in cowrie shells; a small oblong ceramic figure on a short stool; resin pools; and ceramic balls. On the wall, an orange stain appears to emerge from the floor.
Shani Strand: Everything Must Be Returned. Installation view, June 12 - August 15, 2026, Artists Space. Photo: Carter Seddon [Three columns are centered in a blue-lit gallery space. Various sculptures are arranged on the floor, including morning stars with cow horn spikes; two bamboo and rebar spears shaped into rectangles; bricks wrapped in cowrie shells; a small oblong ceramic figure on a short stool; resin pools; and ceramic balls. On the wall, an orange stain appears to emerge from the floor.]
A bamboo and rebar spear that has been shaped into a rectangle is balanced on its side and curled tip. A single black and white morning star is arranged on the floor to the right. On the wall, an orange stain appears to emerge from the floor.
Shani Strand: Everything Must Be Returned. Installation view, June 12 - August 15, 2026, Artists Space. Photo: Carter Seddon [A bamboo and rebar spear that has been shaped into a rectangle is balanced on its side and curled tip. A single black and white morning star is arranged on the floor to the right. On the wall, an orange stain appears to emerge from the floor.]
Along the orange-stained gallery wall, an oblong ceramic sculpture of a ghost with its mouth open is tied down to a metal stool with an ackee underneath. Four bricks are arranged around and two are wrapped in nets dotted with cowrie shells. Small ceramic balls are scattered on the floor, and a shiny blue and orange resin pool appears to leak from the left side of the wall.
Shani Strand: Everything Must Be Returned. Installation view, June 12 - August 15, 2026, Artists Space. Photo: Carter Seddon [Along the orange-stained gallery wall, an oblong ceramic sculpture of a ghost with its mouth open is tied down to a metal stool with an ackee underneath. Four bricks are arranged around and two are wrapped in nets dotted with cowrie shells. Small ceramic balls are scattered on the floor, and a shiny blue and orange resin pool appears to leak from the left side of the wall.]
Four wrought iron sugar cane factory rollers, with amber-colored glass ovals at the ends, are arranged on their sides and upright on the floor. Behind, various other sculptures are seen, including metal balls, resin pools, oblong ceramic ghosts, and a small ceramic figure with horns and curly filamented wings. On the wall, an orange stain appears to emerge from the floor.
Shani Strand: Everything Must Be Returned. Installation view, June 12 - August 15, 2026, Artists Space. Photo: Carter Seddon [Four wrought iron sugar cane factory rollers, with amber-colored glass ovals at the ends, are arranged on their sides and upright on the floor. Behind, various other sculptures are seen, including metal balls, resin pools, oblong ceramic ghosts, and a small ceramic figure with horns and curly filamented wings. On the wall, an orange stain appears to emerge from the floor.]
A small cylindrical ceramic figure, with curly filamented wings and a round head studded with horns and cowrie shell eyes, sits atop a reflective blue pool of resin with orange tints at the edges. Various other sculptures are are seen, including small metal balls, two morning stars, and two wrought iron sugar cane factory rollers with amber-colored glass ovals at the ends. On the wall, an orange stain appears to emerge from the floor.
Shani Strand: Everything Must Be Returned. Installation view, June 12 - August 15, 2026, Artists Space. Photo: Carter Seddon [A small cylindrical ceramic figure, with curly filamented wings and a round head studded with horns and cowrie shell eyes, sits atop a reflective blue pool of resin with orange tints at the edges. Various other sculptures are are seen, including small metal balls, two morning stars, and two wrought iron sugar cane factory rollers with amber-colored glass ovals at the ends. On the wall, an orange stain appears to emerge from the floor.]
A small cylindrical ceramic figure, with curly filamented wings and a round head studded with horns and cowrie shell eyes, sits atop a reflective blue pool of resin with orange tints at the edges. Four small metal balls are scattered around and, on the wall behind, an orange stain appears to emerge from the floor.
Shani Strand: Everything Must Be Returned. Installation view, June 12 - August 15, 2026, Artists Space. Photo: Carter Seddon [A small cylindrical ceramic figure, with curly filamented wings and a round head studded with horns and cowrie shell eyes, sits atop a reflective blue pool of resin with orange tints at the edges. Four small metal balls are scattered around and, on the wall behind, an orange stain appears to emerge from the floor.]
Two wrought iron sugar cane factory rollers with grooves and amber-colored glass ovals at the ends rests on the ground. They are connected by a white wrought iron rod in a spiral design. Behind, a shiny blue and orange resin pool along metal balls are arranged on the floor. On the wall, an orange stain appears to emerge from the floor.
Shani Strand: Everything Must Be Returned. Installation view, June 12 - August 15, 2026, Artists Space. Photo: Carter Seddon [Two wrought iron sugar cane factory rollers with grooves and amber-colored glass ovals at the ends rests on the ground. They are connected by a white wrought iron rod in a spiral design. Behind, a shiny blue and orange resin pool along metal balls are arranged on the floor. On the wall, an orange stain appears to emerge from the floor.]
In a corner of the gallery, two oblong ceramic ghosts lay on their sides on top of a rusty blue square with small piles of charcoal. A shiny blue and orange pool of resin appears to leak out along the edges of the wall and numerous small metal balls are scattered around. On the wall, an orange stain appears to emerge from the floor.
Shani Strand: Everything Must Be Returned. Installation view, June 12 - August 15, 2026, Artists Space. Photo: Carter Seddon [In a corner of the gallery, two oblong ceramic ghosts lay on their sides on top of a rusty blue square with small piles of charcoal. A shiny blue and orange pool of resin appears to leak out along the edges of the wall and numerous small metal balls are scattered around. On the wall, an orange stain appears to emerge from the floor.]
In a corner of the gallery, two oblong ceramic ghosts lay on their sides on top of a rusty blue square with small piles of charcoal. A shiny blue and orange pool of resin appears to leak out along the edges of the wall and numerous small metal balls are scattered around. On the wall, an orange stain appears to emerge from the floor.
Shani Strand: Everything Must Be Returned. Installation view, June 12 - August 15, 2026, Artists Space. Photo: Carter Seddon [In a corner of the gallery, two oblong ceramic ghosts lay on their sides on top of a rusty blue square with small piles of charcoal. A shiny blue and orange pool of resin appears to leak out along the edges of the wall and numerous small metal balls are scattered around. On the wall, an orange stain appears to emerge from the floor.]
In a darkened space lit by blue light, a wall to the right reads "SHANI STRAND / EVERYTHING MUST BE RETURNED." Further into the room, a square-shaped bench between two columns radiates bright orange light from below. On the wall, an orange stain appears to emerge from the floor.
Shani Strand: Everything Must Be Returned. Installation view, June 12 - August 15, 2026, Artists Space. Photo: Carter Seddon [In a darkened space lit by blue light, a wall to the right reads "SHANI STRAND / EVERYTHING MUST BE RETURNED." Further into the room, a square-shaped bench between two columns radiates bright orange light from below. On the wall, an orange stain appears to emerge from the floor.]
On the left between two columns in a darkened room, a square-shaped bench radiates bright orange light from below. On the right, a large projection on the wall shows a green star with the text "Colonization / in REVERSE" superimposed on top of an image of a figure standing in a parking lot, which has been reflected four times.
Shani Strand: Everything Must Be Returned. Installation view, June 12 - August 15, 2026, Artists Space. Photo: Carter Seddon [On the left between two columns in a darkened room, a square-shaped bench radiates bright orange light from below. On the right, a large projection on the wall shows a green star with the text "Colonization / in REVERSE" superimposed on top of an image of a figure standing in a parking lot, which has been reflected four times.]
On the right between two columns in a darkened room, a square-shaped bench radiates bright orange light from below. On the left, a large projection on the wall shows a figure, whose head and body is draped in lilac and red fabrics, in motion on the beach at night.
Shani Strand: Everything Must Be Returned. Installation view, June 12 - August 15, 2026, Artists Space. Photo: Carter Seddon [On the right between two columns in a darkened room, a square-shaped bench radiates bright orange light from below. On the left, a large projection on the wall shows a figure, whose head and body is draped in lilac and red fabrics, in motion on the beach at night.]
Between two columns in a darkened room, a square-shaped bench radiates bright orange light from below. On the wall, an orange stain appears to emerge from the floor while words "BECOMING - BLACK OF THE WORLD" are illuminated by a blue light.
Shani Strand: Everything Must Be Returned. Installation view, June 12 - August 15, 2026, Artists Space. Photo: Carter Seddon [Between two columns in a darkened room, a square-shaped bench radiates bright orange light from below. On the wall, an orange stain appears to emerge from the floor while words "BECOMING - BLACK OF THE WORLD" are illuminated by a blue light.]

Shani Strand (b. 1995, New York) is a multidisciplinary artist working across sculpture, video and installation to consider ungovernability in a post-colonial and globalized world. She is one half of Sucking Salt, a project that archives Caribbean architecture and aesthetics to diversify architectural history and to assert the Caribbean as a site of material importance and a major intersection of various cultures and colonial histories. Recent exhibitions include the Studio Museum in Harlem, NY (2026); Harkawik, LA (2024); Rachel Uffner, NY (2024); Deli Gallery, CDMX (2023); Rachel Uffner, NY (2022); and HOUSING, NY (2021). She has performed at The Broad, Los Angeles (2022) and held residencies at Automata (2022) and Interstate Projects (2018). She has been published by CARLA (2024), The Avery Review (2023) and Pin-Up Magazine (2021). She has lectured at Santa Monica Community College (2024), Wesleyan University (2024) and Harvard Graduate School of Design (2022). Strand received her BFA from Oberlin College and her MFA from the University of California, Los Angeles.

Shani Strand Exhibition Brochure

Chan, Dawn. "Art Gallery Shows to See in July: Shani Strand." The New York Times. July 24, 2026. Online & Print.

Lead exhibition support for Shani Strand: Everything Must Be Returned is provided by Arison Art Foundation. Exhibition support provided by Talia Pockhai and George Wells.

Support for Artists Space exhibitions and programs is provided by Lambent Foundation Fund of Tides Foundation, The Andrew W. Mellon Foundation, The New York City Department of Cultural Affairs in Partnership with the City Council, Horace W. Goldsmith Foundation, The New York State Council on the Arts with the support of Governor Kathy Hochul and the New York State Legislature, The Keith Haring Foundation, I.A. O'Shaughnessy Foundation, Helen Frankenthaler Foundation, The Cowles Charitable Trust, Milton and Sally Avery Foundation, The David Rockefeller Fund, and the Friends of Artists Space.

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    A figure in clown makeup, a black leotard, and polka dot tights jumps through the air against a dark background from which a few lights emerge.
    Shani Strand, R.I.P. He Deserves It, 2026, 10 min 32 seconds, Video and sound. [A figure in clown makeup, a black leotard, and polka dot tights jumps through the air against a dark background from which a few lights emerge.]
    A green star featuring the image of a figure with their hands up and the text
    Shani Strand, R.I.P. He Deserves It, 2026, 10 min 32 seconds, Video and sound. [A green star featuring the image of a figure with their hands up and the text "Colonization / in REVERSE" is superimposed on top of an image of a figure standing in a parking lot, which has been reflected four times.]