Galleria Continua
San Gimignano
Les Moulins

Born in St. Andrews (Jamaica) 1963.

Lives and works in New York.

Nari Ward (b. 1963, St. Andrew, Jamaica; lives and works in New York) is known for his sculptural installations composed of discarded material found and collected in his neighborhood. He has repurposed objects such as baby strollers, shopping carts, bottles, doors, television sets, cash registers and shoelaces, among other materials. Ward re-contextualizes these found objects in thought-provoking juxtapositions that create complex, metaphorical meanings to confront social and political issues surrounding race, poverty, and consumer culture. He intentionally leaves the meaning of his work open, allowing the viewer to provide his or her own interpretation.

 One of his most iconic works, Amazing Grace, was produced as part of his 1993 residency at The Studio Museum in Harlem in response to the AIDS crisis and drug epidemic of the early 1990s. For this large-scale installation, Ward gathered more than 365 discarded baby strollers—commonly used by the homeless population in Harlem to transport their belongings—which he bound with twisted fire hoses in an abandoned fire station in Harlem. Echoing through the space was an audio recording of gospel singer Mahalia Jackson’s Amazing Grace on repeat. The lyrics speak about redemption and change, generating optimism and a sense of hope. As with most of his work, this installation explored themes informed by the materials, community, and location in which he was working. The work has since been recreated at the New Museum Studio 231 space in 2013, and in several locations across Europe. With each change of context, the significance of the work changes as each community differently associates with these found objects.

Nari Ward received a BA from City University of New York, Hunter College in 1989, and an MFA from City University of New York, Brooklyn College in 1992. Solo exhibitions of his work have been organized at the Institute of Contemporary Art, Boston (2017); Socrates Sculpture Park, New York (2017); The Barnes Foundation, Philadelphia (2016); Pérez Art Museum Miami (2015); Savannah College of Art and Design Museum of Art, Savannah, GA (2015); Louisiana State University Museum of Art, Baton Rouge, LA (2014); The Fabric Workshop and Museum, Philadelphia (2011); Massachusetts Museum of Contemporary Art, North Adams, MA (2011); Isabella Stewart Gardner Museum, Boston (2002); and Walker Art Center, Minneapolis, MN (2001, 2000). Select group exhibitions featuring his work include Objects Like Us, The Aldrich Contemporary Art Museum, Ridgefield, CT (forthcoming, 2018-2019); UPTOWN: nastywomen/badhombres,El Museo del Barrio, New York (2017); Black: Color, Material, Concept, The Studio Museum in Harlem, New York (2015); The Great Mother, the Fondazione Nicola Trussardi, Palazzo Reale, Milan (2015); The Freedom Principle: Experiments in Art and Music, 1965 to Now, the Museum of Contemporary Art Chicago (2015); NYC 1993: Experimental Jet Set, Trash and No Star, New Museum, New York (2013); Contemplating the Void: Interventions in the Guggenheim Rotunda, Solomon R. Guggenheim Museum, New York (2010); the Whitney Biennial, New York (2006); and Landings, Documenta XI, Kassel, Germany (2003). Ward’s work is in numerous international public and private collections, including Baltimore Museum of Art, MD; the Brooklyn Museum, New York; Istanbul Modern; The Museum of Modern Art, New York; The Nasher Museum of Art at Duke University, Durham, NC; Pérez Art Museum Miami; Speed Art Museum, Louisville, KY; The Studio Museum in Harlem, New York; Walker Art Center, Minneapolis, MN; and the Whitney Museum of American Art, New York.

Ward has received numerous honors and distinctions such as the Joyce Award, The Joyce Foundation, Chicago (2015), and the Rome Prize, American Academy of Rome (2012), and awards from the American Academy of Arts and Letters, the National Endowment for the Arts, New York Foundation for the Arts, John Simon Guggenheim Foundation, and the Pollock-Krasner Foundation. Ward has also received commissions from the United Nations and the World Health Organization.

Study and Teaching

1992 MFA, Brooklyn College, City University, Brooklyn, USA

1991 BA, Hunter College, City University, New York, USA

Selected Solo Exhibitions


Sun Splashed, ICA, Institute of Contemporary Art, Boston, USA

Nari Ward: G.O.A.T., again, Socrates Sculpture Park, New York, USA

TILL, LIT, Lehmann Maupin, New York, USA


Smart Tree, High Line Project, New York, USA

Sun Splashed, The Barnes Foundation, Philadelphia, USA


So Called, SCAD Museum of Art, Savannah, Georgia, USA

Sun Splashed, Pérez Museum of Art, Miami, USA

Breathing Directions, Lehmann Maupin Gallery, New York, USA


Rooted Communities: Nari Ward, Louisiana State University Museum of Art, Baton Rouge, LA

SHADOW DUST AND A PROMISE OF FUTURE,MiBAC Centro arti visive di Pietrasanta,2014


Nari Ward, Chateau de Blandy-les-Tours, Blandy, France

Nari Ward, Museo d’arte contemporanea, Rome, Italy

Iris Hope Keeper, Galleria Continua, San Gimignano, Italy


Liberty and Orders, Lehmann Maupin Gallery, New York, USA


We the People, fabric Workshopand Museum, Philadelphia, USA

Domino Man, Galleria Continua, San Gimignano Italy

Sub Mirage Lignum, Massachusetts Museum of Contemporary Art, North Adams, MA


Nari Ward: Re-Presence, Nerman Museum, Kansas, USA, Lehmann Maupin Gallery, New York, USA


Salvage Research Soul Training, University of Connecticut, USA


The Refinery X: A small twist of fate, Palazzo delle Papesse-Centro Arte Contemporanea, Siena, Italy


Saint Peter's Odyssey Salon, Deitch Projects, New York, USA

Great American Revival, Past Presence: Reflection on the Main Line, Main Line Art Center, Lower Merion, USA


Episodes, Isabella Stewart Gardner Museum, Boston, USA


Attractive Nuisance, GAM; Galleria Civica d’Arte Moderna, Torino, Italy

Illuminated Sanctuary of Empty Sins, Arte all’Arte, Poggibonsi, Italy

Geography: Bottle Messenger (Lobby Installation), Walker Art Center, Minneapolis, USA


Rites of Way, Walker Art Center, Minneapolis, USA


Nari Ward, Institute of Visual Arts, Milwaukee, USA


Happy Smilers: Duty Free Shopping, Deitch Projects, New York, USA


Amazing Grace, Harlem Firehouse Space, New York, USA


Idle/Drift, Le Magasin, Centre National d’Art Contemporain, Grenoble, France


Carpet Angel, The New Museum, New York, USA

Amazing Grace, Harlem Firehouse Space, New York, USA

Selected Group Exhibitions


Radical Materiality, Lehmann Maupin Gallery, Hong Kong / China

C.Ar.D 2016, Consorzio Agrario Aguzzano, Piacenza, Italy


Future Seasons Past, curated by Manuel E. Gonzalez, Lehmann Maupin Gallery, New York, USA


Caribbean: Crossroads of the World, Perez Art Museum Miami, FL

Food, SESC Pinheiros, Sao Paulo, Brazil


The idea of Realism, American Academy in Rome, Italy

NYC1993: Experimental Jet Set, Trash and No Star, New Museum, New York, USA

Surviving Sandy, Dedalus Foundation, Brooklyn, NY

Justice Blind, Rush Philanthropic Art Foundation’s Corridor Gallery, Brooklyn, NY Seventh

Inning Stretch, Firestone Gallery, East Hampton, NY

Nasher Museum and the 50th Anniversary, The Nasher Museum of Art, Duke University, Durham, NC

Blacks in Black and White, Brand New Gallery, Milan, Italy

We the People, Tang Museum, Saratoga Springs, NY

Wall, Canzani Center Gallery, Columbus College of Art and Design, Columbus, OH

Food: Reflections on Mother Earth, Agriculture and Feeding, Musée Ariana, Geneva, Switzerland


Food, Musée Ariana, Geneva, Switzerland

Blacks in Black and White, Brand New Gallery, Milan, Italy

I Followed You into the Water, Lehmann Maupin, New York, NY

28 Days, Justina M Barnicke Gallery, Toronto, Canada

Points of View: Twenty Years of Artists in Residence, Isabella Stewart Gardner Museum, Boston, MA

MuMo (Mobile Museum), L’Art à l’Enfance, France; Cameroon; Benin; Senegal


Art Unlimited, Art basel Switzerland

Terre vulnerabili, Hangar Bicocca, Milan, Italy

10 Hands 100 Fingers, Galleria Continua, Beijing, China


Trasparenze. L’arte per le energie rinnovabili, Macro, Roma, Italy

Rem(a)inders, Galleria Continua, Beijing, China

Contemplating the Void: Interventions in the Guggenheim Rotunda, Guggenheim Museum, New York, USA


30 Seconds off an Inch, Studio Museum in Harlem, New York, USA

Rockstone and Bootheel: Contemporary West Indian Art, Real Art Ways, Hartford, USA

Neo Baroque, University of Western Ontario Art Gallery, Canada


Prospect 1 New Orleans, New Orleans, USA


Dream and Trauma, Kunsthalle Wien and Museum Moderner Kunst, Vienna, Austria

Generation 1.5. Queens Museum, Flushing Meadows, Queens (NY), USA

For the Love of the Game, Race and Sport in America, Wadsworth Atheneum Museum of Art, Hartford, USA


Wherever We Meet, Spazio Oberdan, Milano, Italy

Meditations in an Emergency, Museum of Contemporary Art, Detroit, USA

2006 Whitney Biennial Exhibition, Whitney Museum of American Art, USA

Be the Artists Guest, Musee d’art moderne Grand Duc Jean, Luxembourg

Dirty Yoga: Taipei Biennial, Taipei Museum, Taipei, Taiwan

Echigo- Tsumari Art Triennial, Echigo-Tsumari, Japan


New Labor, Neutral Capital Collection, Columbia University Leroy Neiman Gallery, New York, USA

Faith, Real Art Ways, Hartford, USA

Yokohama Triennial, Yokohama, Japan

Sharjah International Biennial 7, Sharjah, United Arab Emerites

Double Consciousness: Black Conceptual Art Since 1970, Contemporary Arts Museum, Houston, Texas


Postcards for Cuba: A Selection from the 8th Havana Biennial, Henie Onstad Kunstsenter, Oslo, Norway

Garvey Carts Curator's Eye, National Gallery of Jamaica, Kingston, Jamaica

Monument to Now: The Dakis Joannou Collection, Athens, Greece


Confabulations, Hunter College Leubsdorf Art Gallery, New York, USA

Whispering Lights, 8th Havana Biennial, Havana, Cuba

In Honor Of, Arte Continua, San Gimignano, Italy

Pathmarker, Site Lines, The Addison Gallery of American Art at Phillips Academy, Andover, USA

Landings, Documenta XI, Kassel, Germany

Fortress, Spoleto Festival, Charleston, USA


Transforms, Roman Theater, Trieste, Italy

The Overexcited Body, Museo dell’ Arengario Piazza del Duomo, Milano, Italy

Crossing the Line, Queens Museum of Art, Queens (NY), USA

A Room Is a World, Kunsthalle Zurich, Zurich, Switzerland

Spiritual America, Audiello Fine Arts,New York, USA


Playgrounds & Toys, Art for the World, UNI Dufour building, The University of Geneva, Geneva, Switzerland

Quiet in the Land; Projecto Axe, Museo de Arte Moderne, Bahia, Salvador, Brazil.

Emerald Necklace Project, Institute of Contemporary Art, Boston, USA

Geography; Tree, collaborative work with Ralph Lemon, performed at the Yale Repertory Co., New Haven, USA, Walker Art Center, Minneapolis, USA, Yerba Buena Center for the Arts, San Francisco, USA and Brooklyn Academy of Music, Brooklyn, USA

Quotidiana, Museo d’Arte Contemporanea, Torino, Italy


Streetlife, Project Row House, Houston, USA

Passages: Contemporary Art in Transition, The Studio Museum in Harlem, New York, USA


I Love New York; Crossover of Contemporary Art, Museum Ludwig, Koln, Germany

Global Vision; New Art from the 90s, Deste Foundation, Athens, Greece

Invitational Exhibition of Painting and Sculpture, American Academy of Arts and Letters, New York, USA

Arkipelag; From Crash Between Islands to In(ter)fection, Sjohistoriska Museet, Stockholm, Sweden

Edge of Awareness, World Health Organization, Geneva, Switzerland, United Nations Hall of Visitors, New York, USA, P.S. 1 Contemporary Art Center, Long Island City, USA, and SESC de Pompeia, Sao Paulo, Brazil


Geography, collaborative work with Ralph Lemon, performed at Yale Repertory Co., New Haven, USA, Walker Art Center, Minneapolis, USA, and Brooklyn Academy of Music, Brooklyn, USA

Islas, Centro Atlantico De Arte Moderno, Gran Canaria, Spain, La Granja, Teneriffe, Spain, and Centro Andaluz de Arte Contemporaneo, Seville, Spain

Quiet in the Land: Everyday Life, Contemporary Art, and the Shakers, Institute of Contemporary Art, Maine College of Art, Portland, USA, and Institute of Contemporary Art, Boston, USA

Untitled Depot, Insite 1997, Tijuana, MEXICO and San Diego, USA

Projects: How to Build and Maintain the Virgin Fertility of Our Soul, P.S.1 Contemporary Art Center, Long Island City, USA

Pursuit of the Sacred; Evocations of the Spiritual in Contemporary African American ArtBetty Rymer Gallery, School of the Art Institute of Chicago, Chicago, USA



Willard L. Metcalf Award, American Academy of Arts and Letters, New York, USA

Bessie Award in Visual Arts, Dance Theater Workshop, New York, USA


Penny McCall Foundation, New York, USA


Pollock Krasner Foundation, New York, USA

Artist-in-Residence, Sabbathday Lake Shaker Community,Glouchester, UK


The National Endowment for the Arts, Washington DC, USA

Wheeler Foundation Merit Fellowship, New York, USA


John Simon Guggenheim Fellowship, New York, USA

Artist-in-Residence, The Studio Museum in Harlem, New York, USA


Enrico Donati Foundation, Ridgefield, USA



SCHLAFLOS SLEEPLESS,21erhaus Agnes Husslein-Arco, giugno 2015 Pp 278


SHADOW DUST AND A PROMISE OF FUTURE,MiBAC Centro arti visive di Pietrasanta,2014 Pp 66-71


Shapiro, Steve. “Lost and Found Department: Nari Ward’s Art Surprises at the Nerman Museum.” KCT Tribune, June 2010

Bryant, Eric. “Reviews: New York”, ARTnews, May 2010

Ruble, Kasey. “Exhibition Reviews.”, Art in America, May 2010

O’Neil-Butler, Lauren. Artforum, May 2010

Rosenberg, Karen. “Art in Review.”, The New York Times, 2 April.


Beckwith, Naomi. Artforum, November 2009.

Stern, Steven. “Prospect.1 New Orleans,” Frieze, February 2009.


Schjedahl, Peter. “Come on down,” The New Yorker, November 2008.


Amy Michael, “Sculpture Magazine”, May, Vol. 24 No. 4

Palazzo delle Papesse Centro Arte Conemporanea listing, Sculpture, April, Vol. 25, No. 3


Valdez Sarah, “Art in America”, December


Cohen Joyce, “Art New England”, December 2002 / January 2003

Hala Katherine, “Daily Free Press”, NOV 14

Maass Val, “Weekly Dig”, November 6-13

McQuaid Cate, “Boston Sunday Globe”, October 13

Schwaab, Ellen, “Extraschichtenfr, die Documenta 11”, Sonntagszeit, 18 Vom, 5 May

Silver Joanne, “Boston Herald”, October 18

Rhodes, Kristen. “Linking Art, Community, and History”, Charleston City Paper, Vol.5, Issue 39, May 22

Nari Ward,“Work in Progress”, V Magazine


Lloyd Ann Wilson, “Remembering Olmsted’s Vision for Boston”, The New York Times, August 6

Sirmans Franklin, “Rites of Passage”; The Studio Museum in Harlem: charts its future by revisiting its recent past, Art Review, Time Out New York, Issue 224, Jan 6-13


Allerholm Milou, “On Arkipelag 2”, The Nordic Art Review, Summer, pp. 80-81

Kaplan Janet, “The Quiet in the Land: Everyday Life, Contemporary Art, and the Shakers; A Conversation with Janet Kaplan,” Art Journal, Summer, pp. 5-27

Oguibe Olu, “Studio Call Nari Ward”, Nka, Fall/Winter


Barclay Morgan Anne, “3-Legged Race”, Sculpture, March, pp.57-58

Larson Kay, “A Month in Shaker Country”, The New York Times, August 10, pp. 30-33


Camhi Leslie, “Other Rooms,” The Village Voice, October 9, p.83

Cotter Holland, “3 Legged Race,” The New York Times, September 27

Frankel David, “Happy Smilers”, ArtForum, October 1996, p. 116

Gear Josephine, “3 Legged Race”, Review Magazine, October 1

Halle Howard, “Nari Ward, Happy Smilers”, Time Out New York, March 27

Levin Kim, “Happy Smilers; Duty Free Shopping”, The Village Voice, March

Pace Alessandra, “Nari Ward, In the Inside of a Sunshower”, Flash Art, October, pp. 76-79

Pederson Victoria, “Gallery Go Round”, PAPER, April

Princethal Nancy, “Nari Ward at Deitch Projects”, Art in America, September

Saltz Jerry, “3 Legged Race”, Time Out New York, October 10,p. 30


Goldberg Paul. “Klaus Kertess and the Making of the Whitney Biennial”, The New York Times Magazine, February, pp. 30-39

Huitorel Jean-Marc, “Nari Ward”, Art Press, March 19, p. 64

Johnson Ken, “Big Top Whitney”, Art in America, June, pp. 38- 43

Kertess Klaus, “Looking at the Future”, Elle Décor, November,pp. 61-66

Kimmelman Michael, “Harlem Sculpture Garden”, The New York Times, September 22, p. C1

Napack Jonathan, “Art Diary”, The New York Observer, April 17

Stevens Mark, “A Polite Biennial”, New York Magazine, April 1, pp. 56-57

Wallach Amei, “Debating the Color Line”, New York Newsday,February 8, pp. 84-85


Deitch Jeffrey, “Nari Ward Aperto”, Flash Art, Summer, p. 97

Smith Roberta, “Gallery View: Examining Culture Through Its Castoffs”, The New York Times, November 28, pp. H39-44

Vetroc Marcia E, “Identity Crisis”, Art in America, September, pp. 106-1