Crossroads

March 6 — April 19, 2026 | Guichelaar Gallery | CAMi

CAMi is open Wednesday through Friday from 9 a.m. to 6 p.m., and 9 a.m. to 3 p.m. on the weekends. We are closed on Monday and Tuesday.

Indiana is known as the “Crossroads of America.” Curator India Hines selected 18 artists whose work explores Indianapolis and Indiana as intersections of place, culture, and identity. Through their work Hines highlights the complex dimensions of life here through artists’ relations to local histories, community spaces, inner landscapes, and the city’s influence on their lived experiences.

Ava Tankersley
Bri Powell
Cameron Omega
Fernando Casanova (Fernando)
Jesús Andrade Mares
Joshua Mark Phillippe
KC Coverdale (KC)
Sophie Sturgeon
Kionne Bybee,
Kipp Coverdale
Kyle Bob Morgan
Sofia Casanova
Matt Fertig
Mazzy Booth
Tristan Roy
Robert Bentley (Hanz One)
Neil Cain (Neil Clifton Cain)
Sunshine Gambill (Sunshine Ray)
Quintin Griffin

Curator – India Hines

India Hines is part of the Contemporary Art Museum of Indianapolis (CAMI) Long Term Artist Residency. Self-taught, their work is rooted in intuition, spirituality, and the subconscious, treating art as a transformative experience rather than purely an aesthetic object.

Working across ink, gouache, watercolor, oil, and mural, India creates figurative forms and organic shapes that feel both dreamlike and ancestral. Their process is deeply meditative and often begins without a fixed plan, allowing emotion, memory, and spiritual guidance to lead the work. Through this intuitive approach, their art explores balance, lineage, and the unseen forces that shape identity.

This exhibition was made possible by the Indy Arts Council and the City of Indianapolis.

Image: Cameron Omega, I won’t forget, I remember, Acrylic on Canvas, 24×36, 2025.

Cory Robinson: Kept Secrets : Open Code

APRIL 3 – SEPT. 13, 2026 | TUBE GAllery | CAMi

CAMi is open Wednesday through Friday from 9 a.m. to 6 p.m., and 9 a.m. to 3 p.m. on the weekends. We are closed on Monday and Tuesday.

In this exhibition, designer Cory Robinson builds upon his CODEX series, which employs a system of form typologies in varying combinations to generate unique compositions in both two- and three-dimensional works. Kept Secrets: Open Code uses this preordained design language to explore layered personal histories through recontextualized objects. The gallery is organized around three distinct spatial environments: the Church, the Court, and the Garten.

The Church features five large, tufted rugs installed in a continuous curved sequence, evoking the apse of a cathedral. Produced in collaboration with a software-driven production partner, the designs translate the flat graphic language of the CODEX Series into textile compositions—digitally precise in conception yet softened and humanized in their yarn-rendered finish. The space engages the mystery and contemplative atmosphere associated with liturgical environments, using the unlikely medium of tufted yarn to construct images meant for quiet reflection. Robinson, who grew up in a rural, working-class community in central Indiana, was not raised religious and felt this positioned him as an outsider. Over time he has come to redefine his personal meaning of “church,” and here considers the work of Light and Space artists such as James Turrell, who—often inspired by sacred architecture—manipulates environments to alter perception and elicit the divine.

The Court presents two exaggerated, throne-like chairs flanking the entrance to the Church. Their conceptual origins lie in the artist’s complicated relationship with the American justice system—specifically, a teenage courtroom experience in which he was publicly dismissed by a judge as a “smartass kid.” That moment destabilized his faith in law and order as neutral principles, and the installation explores the symbolism of thrones in relation to justice and power. The thrones incorporate multiple historical and cultural references: the ball-and-claw carving tradition of 18th-century Philadelphia furniture, the golden throne of Tutankhamun, and notably, tattoo subcultures, in which Robinson has observed phrases and ornamentation that reflect adherence to particular codes of law and order. The armrests terminate in carved wooden knuckles engraved with the phrases Open Eyes and Slow Burn — references to surveillance culture and a public increasingly desensitized to crisis. Together the thrones ask: who defines the law, who benefits from it, and how are its symbols constructed and maintained?

 The Garten is the most personal and quietest of the three environments. A grouped installation of sculptural lighting objects made from salvaged redwood, it is rooted in the artist’s lifelong affinity for plants and their coded visual languages. As a child, the “garden” for Robinson was the expansive acreage of genetically modified corn that surrounded his home. His affinity for cultivating plants developed as a hobby throughout adolescence and adulthood, and his studio practice grew to consider biomimetic design and how leaf shapes, branching patterns, and other forms repeat and vary across species. Robinson’s decision to work with redwood was galvanized during a visit to his grandfather’s home in the early 2020s, where he discovered a pile of redwood boards in the garage—remnants of a long-abandoned home improvement project. While he had previously avoided the material for its softness, it suddenly acquired new sentimental value. Warm and organic in contrast to the Court’s gold-leafed authority, the Garten asks gentler questions—how do leaf shapes create beauty in functional objects, and how do objects speak to one another the way plants animate a living space?

—Shelley Selim

About the Artist: Cory Robinson is a multi-disciplinary artist and designer whose practice navigates the intersection of fine art, functional design, and public engagement. With a career spanning over two decades, Robinson’s work is characterized by a relentless curiosity regarding materials, manufacturing processes, and the narrative potential of objects.

Curator: Shauta Marsh with support from Shelley Selim, Mort Harris Curator of Automotive, Industrial, and Decorative Design, Detroit Institute of Arts

This exhibition was made possible by The Efroymson Family Fund, The Andy Warhol Foundation for the Visual Arts, The Allen Whitehill Clowes Charitable Foundation, The Arts Council of Indianapolis and the City of Indianapolis.

Tony Cokes: Untitled (m.j. the symptom)

APRIL 3 – Sept. 13 | TUBE VIDEO GALLERY | CAMI

CAMi is open Wednesday through Friday from 9 a.m. to 6 p.m., and 9 a.m. to 3 p.m. on the weekends. We are closed on Monday and Tuesday.

Borrowing its text from assorted excerpts from the Mark Fisher-edited essay collection The Resistible Demise of Michael Jackson (2009), Untitled (m.j. the symptom) examines the King of Pop as a complex set of contradictory signifiers, a funhouse reflection that is as distinct, spectacular, and compromised as the culture that produced him. So say Kraftwerk in their haunting 1977 song “Hall of Mirrors”: “Even the greatest stars / find themselves in the looking glass.”

About the Artist

Tony Cokes makes politically resonant works in a visual language all his own. Since the 1980s, his work has surfaced the latent ideologies of popular culture, confronting issues of structural racism, power, visibility, and the defiant pleasures still found under capitalism. Cokes samples and remixes fragments of our media landscape to subvert its governing codes. His tightly choreographed video essays layer found text over vibrant colors and dissonant soundtracks, exploiting the gaps between sensory regimes to heighten and complicate the reading experience. Quoted passages from current events or critical theory take on a new tenor when set to music, resulting in propulsive animations that appeal to the mind and body alike. Cokes’s immersive works make text feel visceral and let rhythm spur new insight: as his art attests, “it is possible to dance and think at the same time.”

Mae Alice Engron

May 1 — July 19, 2026 | Guichelaar Gallery | CAMi campus

CAMi is open Wednesday through Friday from 9 a.m. to 6 p.m., and 9 a.m. to 3 p.m. on the weekends. We are closed on Monday and Tuesday.

Born in Indianapolis, Mae Alice Engron (1942–2007) was a pioneering Black abstract expressionist. A Herron School of Art alumna, she turned to painting at age 40 after a workplace injury. Known for her “controlled drip” technique using poured ink and oil, she blended organic forms with vibrant Neo-Expressionism.

Engron broke barriers for Black women in pure abstraction, exhibiting alongside icons like Robert Indiana and Alma Thomas. Her work was featured in groundbreaking shows from Indianapolis to Los Angeles, cementing her legacy as a seminal visionary. Today, her paintings are held by the Smithsonian and the Indiana State Museum.

This exhibit features lesser known works purchased in the last two years at auction and is in partnership with Engron’s daughter, Michelle Daniel.

You’re Standing Inside the Instrument: A Score for 19 Buildings

May 1 — Sept. 13, 2026 | Listen Hear Gallery | CAMi

CAMi is open Wednesday through Friday from 9 a.m. to 6 p.m., and 9 a.m. to 3 p.m. on the weekends. We are closed on Monday and Tuesday.

You’re Standing Inside the Instrument: A Score for 19 Buildings is a collaborative sound-and-video installation that invites visitors to experience architecture in a new way — as an instrument. For the exhibition, 19 Indianapolis-based artists are each creating a short sound work using a single Indianapolis building as the sole sound source. A panel of locally based architects and built-environment experts selected the buildings, grounding the project in sites of architectural, cultural, and material significance across the city.

Presented across multiple listening and viewing stations, the works create an evolving installation in which sound and image intersect and overlap. Each composition is accompanied by a silent, static video portrait of the building that generated it.

Curator: Jim Walker with support from Landon Caldwell

Artists:

Jim Walker

Rob Funkhouser

Landon Caldwell & Mark Tester

Aaron Coleman

Oreo Jones

Laurel Judkins

Sofi Parker

Regan Wakeman

Carrington Clinton

Mina Keohane

Rachel Leigh

April Knauber

Bree Flannelly

Jordan Munson

Charlie Redd

Clockwork Janz

John Flannelly

Sharlene Birdsong

Andy Fry, Devon Ashley & Vess Ruhntenberg

Photo: Jim Walker, John J. Barton Tower, 2026.

Ivelisse Jiménez: Campo de Resonancia

May 1, 2026 — Jan. 17, 2027 | Jeremy Efroymson Gallery | CAMi

CAMi is open Wednesday through Friday from 9 a.m. to 6 p.m., and 9 a.m. to 3 p.m. on the weekends. We are closed on Monday and Tuesday.

Ivelisse Jiménez is “interested in how experience exceeds language, how what is sensed, felt, or intuited often resists being named.” This is the power abstraction holds. In a world moving very fast and not always in directions any of us choose, her work proposes sustained looking as resistance — practice for the kind of attention the world needs more of, not less.

Campo de Resonancia — Resonant Field — is a large-scale installation built from hand-painted transparent and colored vinyl and reclaimed plastics. Though discarded by Indianapolis residents and altered by Jiménez, the plastics hold a history like the CAMi building itself, started in the late 1800s by Weber Dairy.

Campo de Resonancia asks every person who enters to first pass through something that has no single meaning, no narrative arc, no instruction about how to feel. Conceived as a “permeable labyrinth,” the work offers no single vantage point. You are absorbed into it. You cannot see this work the same way from two positions. It is a field of conditions. You are one of the conditions.

The materials are not neutral. Plastics are “deeply entangled with human survival, convenience, and innovation, yet inseparable from environmental degradation.” There is no resolution to this contradiction. So Jiménez works inside it.

Puerto Rico receives what the ocean carries with no elsewhere for it to go. Her reclamation of discarded plastics is not a conceptual gesture — it is a practice shaped by proximity. The beauty is a complication. When something you recognize as garbage becomes luminous, you are not being told waste is fine. You are being asked to stay with the contradiction longer than you are comfortable. What Campo de Resonancia carries into this landlocked city, among other things, is the ocean.

For this commission, the materials came from here — from people making an ordinary gesture, letting something go, that became an act of collective construction. What you move through is partly made of what Indianapolis decided it was done with. The first thing you encounter in this new museum space is a work built, in part, from what you gave.

Campo de Resonancia creates a situation — a “space of attentiveness” — where something can happen between you and the material, between you and the light, between you and the stranger moving through the same layered field. What happens there is yours.

About the artist
Ivelisse Jiménez’s practice presents visual propositions concerning the construction of meaning in dialogue with the inhabited space. Her work has been exhibited in the United States, Europe, Latin America, and Puerto Rico, including Prague Art Biennale, Ecuador’s Cuenca Biennale, and  Special Project Rooms at ARCO Madrid. She is the recipient of a Joan Mitchell Painters and Sculptors grant, Adolph and Esther Gottlieb Foundation grant, and Venice Italy Arte Laguna 1st Prize in Painting. Her work is part of collections at Museo del Barrio NY, Bronx Museum NY, Museo de Arte de PR, Museo de Arte Contemporáneo de PR, CAB de Burgos, Spain, among others. Jiménez holds a BA in Humanities from the University of Puerto Rico, Rio Piedras and an MFA from New York University. After living and working in New York for twenty years, she now has her residency and studio in Puerto Rico.

Spanish Translation:
Ivelisse Jiménez está “interesada en cómo la experiencia supera al lenguaje, en cómo lo que se siente, se percibe o se intuye a menudo resiste ser nombrado.” Este es el poder que sostiene la abstracción. En un mundo que se mueve muy rápido y no siempre en direcciones que alguno de nosotros elige, su obra propone la mirada sostenida como resistencia — práctica para el tipo de atención que el mundo necesita más, no menos.

Campo de Resonancia es una instalación de gran escala construida con vinilo transparente y de colores pintado a mano y plásticos recuperados. Aunque descartados por residentes de Indianápolis y transformados por Jiménez, los plásticos guardan una historia como el propio edificio de CAMi, fundado a finales del siglo XIX por Weber Dairy.

Campo de Resonancia le pide a cada persona que entra que primero pase a través de algo que no tiene un solo significado, ni un arco narrativo, ni instrucciones sobre cómo sentir. Concebida como un “laberinto permeable,” la obra no ofrece un único punto de vista. Uno es absorbido por ella. No se puede ver esta obra de la misma manera desde dos posiciones. Es un campo de condiciones. Usted es una de esas condiciones.

Los materiales no son neutrales. Los plásticos están “profundamente entrelazados con la supervivencia humana, la conveniencia y la innovación, pero inseparables de la degradación ambiental.” No hay resolución para esta contradicción. Entonces Jiménez trabaja dentro de ella.

Puerto Rico recibe lo que el océano trae, sin ningún otro lugar adonde ir. Su recuperación de plásticos descartados no es un gesto conceptual — es una práctica moldeada por la proximidad. La belleza es una complicación. Cuando algo que reconoces como basura se vuelve luminoso, no se te está diciendo que el desperdicio está bien. Se te pide que permanezcas con la contradicción más tiempo del que te resulta cómodo. Lo que Campo de Resonancia trae a esta ciudad mediterránea, entre otras cosas, es el océano.

Para esta comisión, los materiales vinieron de aquí — de personas que hicieron un gesto ordinario, dejar ir algo, que se convirtió en un acto de construcción colectiva. Lo que atraviesas está hecho en parte de lo que Indianápolis decidió que ya no necesitaba. Lo primero que encuentras en este nuevo espacio museal es una obra construida, en parte, con lo que tú diste.

Campo de Resonancia crea una situación — un “espacio de atención” — donde algo puede suceder entre tú y el material, entre tú y la luz, entre tú y el desconocido que se mueve a través del mismo campo de capas. Lo que sucede allí es tuyo.

Will Higgins: The Speedway’s Attic

May 1 — Aug. 16, 2026 | Research Gallery | CAMi

CAMi is open Wednesday through Friday from 9 a.m. to 6 p.m., and 9 a.m. to 3 p.m. on the weekends. We are closed on Monday and Tuesday.

Every city has an official version of itself. Indianapolis has the Indianapolis Motor Speedway — monument, mythology, Greatest Spectacle in Racing.

This is not that. The Speedway’s Attic is unofficial. It is unsanctioned. The stories here are hard to believe. But believe them. They are true, all of them.

Drawing on original research into newspaper archives, oral histories, and the margins of the official record, Will Higgins, an award-winning journalist, assembles the stories that didn’t make the monument: the “hillbilly machine gunner” who charged race fans 25 cents to see Mrs. Adolph Hitler’s underpants; the French race driver who drank six pints of wine mid-race — and won; the race fan who mooned fifty thousand people and then personally delivered the photographic evidence on his paper route the next morning.

The Speedway’s Attic brings this research into physical form through objects, photographs, illustration, and text. The result is less a sports history than a portrait of American appetite — for speed, spectacle, and spectacle’s underbelly. These stories are funny, and some are damning, and a few are quietly moving. Together they map what a city chooses to remember, what it lets fade, and what keeps surfacing anyway.

About the artist

Will Higgins (b. 1956) was first a history major then a tennis pro then repo man. Later, as a journalist, he covered KKK rallies in the rural Midwest, war in Iraq, a terrible run of homicides in Gary, Ind. but also things like a woman finding on her back stoop what she believed (wrongly, it turned out) was a two-headed ant and contemplating how best to monetize it. Higgins is the founder of the Museum of Fabulosity, the American Association of Linear Bocce and the American Society of Presidential Urine Collectors.

Photo: Casey Cronin, Speedway’s Attic, 2026.

Jess Dunn & Sylvia Thomas: Drafts

May 1 — Oct. 18, 2026 | Katharine B. Sutphin Media Gallery | CAMi

CAMi is open Wednesday through Friday from 9 a.m. to 6 p.m., and 9 a.m. to 3 p.m. on the weekends. We are closed on Monday and Tuesday.

For their first collaboration, Jess Dunn and Sylvia Thomas were prompted to create a piece focusing on the new renovation for the Contemporary Art Museum of Indianapolis (CAMi) campus. In an attempt to interpret history and the building itself, the artists combined their backgrounds in animation and music composition to create an experimental documentary. Through exploring archives, primary source documents, and artifacts found inside the building, the artists learned this site took on many forms: from the land of the indigenous peoples who first inhabited it, to farmland, to various industrial developments, and now its current state as a premier contemporary arts complex.

For Drafts, Dunn and Thomas compiled their research directly into the video, collaging archival maps and footage, artifacts left behind on site, and field recordings taken within Garfield Park and on the campus. These remnants, in addition to animation and a co-composed music score, echo the layers and textures that have formed the building’s identity.

The animation of the horse as a throughline in the piece references the stables used by the Weber Dairy, which existed in the original and oldest part of the building until 1947 when the Tube Processing Factory purchased the land. As CAMi expands to embrace natural elements and remember the heritage of the land, the artists believe the horse is a symbol of humanity’s simultaneous connection to nature and development. This juxtaposition amongst the other visual layers reveals the many iterations of history and industry tied to CAMi’s location.

About the Artists

Specializing in animation, Jess Dunn treats illusion as both inspiration and medium. Their work explores the mechanics of motion, finding the “magic” in the gaps between frames where perception shifts. From childhood flipbooks to complex stop-motion, their practice has evolved into the creation of immersive worlds that bridge physical and digital spaces. Through an experimental process, they often build custom circuits to distort visions via voltage manipulation or, conversely, allow raw materials to speak for themselves. The result is a living, multi-sensory environment built for exploration.

Sylvia Thomas is an artist and writer from Indianapolis. Her work focuses on sex, gender, grief, and euphoria. Over the last 10 years, she has exhibited and performed her work across North America and Europe, including the 2025 CLAVO art fair in Mexico City and a presentation for the United Nations Envoy on Youth in 2021. Sylvia is a long-term artist in residence for Big Car Collaborative, a 2024-25 Creative Renewal Arts Fellow through the Indy Arts Council, and a recipient of the 2023 Indianapolis Creative Risk Grant through the Herbert Simon Family Foundation.