Multidisciplinary creativity was in the spotlight in Under Scores performances
May 27, 2026
Artist Sol Kim performs More or Less, in which the artist’s image is analyzed by an object-detection AI. Photo credit: Brandon Straus.
Guests take in Dylan Li’s installation, Shout Out to Bestie for Being Quiet. Photo credit: Brandon Straus.
Dylan Li and guests experience the artist’s installation as part of the evening. Photo credit: Brandon Straus.
Over 50 people attended the performance program for Under Scores, including Weitzman Faculty Michele Lopez, curators, and community members. Photo credit: Brandon Straus.
Artist Ambika Trasi and organist Salina Kuo improvised on the Wurlitzer organ built into Trasi’s installation Juggernaut (2026). Photo credit: Brandon Straus.
Artist Cacie Rosario Jackson introduces her practice and sound piece Skywave (2026). Photo credit: Brandon Straus.
Guests listen deeply to Cacie Rosario Jackson’s sound piece Skywave (2026). Photo credit: Brandon Straus.
Artist Ambika Trasi reading Bhanu Kapil’s Humanimal as part of the evening’s events. Photo credit: Brandon Straus.
Artist Ambika Trasi and organist Salina Kuo improvised on the Wurlitzer organ that is part of Trasi’s installation Juggernaut (2026). Photo credit: Brandon Straus.
A screening of Noa Mori Machover’s film After Market closed out the evening of performances. Photo credit: Brandon Straus.
MFA student Mel Bleeker (left) and exhibiting artist Noa Mori Machover at the reception. Photo credit: Brandon Straus.
An evening of live performance, video, sound, music, and a kaleidoscope of moving images filled two galleries, showcasing the multidisciplinary vision of the artists who had recently earned a Master of Fine Arts (MFA) degree from the Stuart Weitzman School of Design.
More than 50 people gathered for the May 22 event featuring five of the artists included in Under Scores: 2026 Weitzman Fine Arts MFA Thesis Exhibition, on view through Sunday, May 31. The exhibition spanned two venues: the Gordon Gallery in Weitzman Hall and the Arthur Ross Gallery. The artists were introduced by curator Emily Zimmerman, Director of Exhibitions and Curatorial Affairs at the Arthur Ross Gallery.
In the Gordon Gallery, Sol Kim performed with a live camera image feed, object-detection AI, and a screen. In More or Less (2026) Kim poses for the camera, her image split, analyzed and labeled with different values, including “more person” and “less person.” Evoking the iconic video performances of artist Bruce Nauman in the 1960s and 1970s, such as Wall Floor Positions from 1968, the work shifts questions of performance and presence toward AI’s misclassification of everyday gestures. Guests were then invited to try the system for themselves.
Visitors then entered Dylan Li’s installation, Shout Out to Bestie for Being Quiet (2026), featuring a spinning mirrored ball reflecting two self-portrait videos of the artist and an accompanying voiceover that speaks of cultural mistranslations and misunderstandings.
In the second half of the evening at Arthur Ross Gallery, Cacie Rosario Jackson spoke about her artworks that translate circuit boards, schematic diagrams, and graphic music scores, based on her research into the Chitlin Circuit, a network of Black music venues. She then held a deep listening session of her original soundtrack Skywave (2026) woven from audio drawn from Black AM radio stations across the United States.
Ambika Traski’s installation Juggernaut (2026) incorporates a Wurlitzer pipe organ, Victorian furniture, glass lantern slides, and other archival materials. In a performative activation of the piece, Trasi read from Bhanu Kapil’s book Humanimal, and John Berger’s poem “They Are the Last” while organist Salina Kuo improvised on the organ.
Finally, there was a screening of Noa Mori Machover’s film, After Market, created in conjunction with her installations that reference catalytic converters and the precious metals mined to create them. The performances were followed by a reception in the lobby outside the Arthur Ross Gallery.