Point Comfort Art Fair & Show

December 2–6, 2026 | Miami Art Week
Historic Overtown | Miami, Florida
Presented by Hampton Art Lovers

Point Comfort Art Fair & Show returns to Miami's Historic Overtown during Miami Art Week 2026 with The Black Atlantic, an exploration of the artistic, intellectual, and cultural connections that unite Africa, Europe, the Caribbean, and the Americas.

The 2026 edition examines how people of African descent have transformed the Atlantic from a geography of displacement into a dynamic space of cultural exchange, resistance, creativity, and collective identity. Through historic and contemporary art, photography, literature, music, artist conversations, and institutional dialogue, Point Comfort celebrates the cultural achievements that have connected Black communities across continents and generations.

At the center of this year's fair is Loïs Mailou Jones: Across the Black Atlantic, a featured exhibition presenting 20 works and accompanying ephemera illuminating the extraordinary career of one of the twentieth century's most influential African American artists. Over nearly seven decades, Jones developed an artistic language connecting African American cultural traditions, European modernism, Haitian visual culture, and West African heritage.

Complementing the Jones exhibition is Safe Harbors: Mapping Freedom Across the Black Atlantic, a mezzanine installation featuring contemporary artist Brandon Clarke. The installation explores the histories and geographies of Black refuge, mobility, and self-determination, connecting communities of resistance in Brazil and Florida with the networks of hospitality that sustained African American travelers during segregation.

Together, the exhibitions explore two interconnected dimensions of the Black Atlantic: the movement of artistic ideas and cultural identities across borders, and the creation of places and networks that made survival, freedom, and cultural expression possible.

The fair's signature Indaba Lounge Series extends these conversations through artist dialogues, book presentations, music, and institutional exchanges. Featured programming includes a collaboration with the Harvey B. Gantt Center for African-American Arts + Culture, the BPM: Beats, Pics, & Masters book release and artist conversation, and Legacy in Color, a celebration of Hampton University's global artistic influence.

Music is an essential part of this year's exploration. Saturday evening's Jazz Under a Simple Tree — Point Comfort Edition features JT6 Orchestra performing Jazz from the Black Atlantic, a program of traditional American jazz and Afro-Cuban jazz that illuminates the shared African musical foundations and creative exchanges connecting the United States and the Caribbean.

Set in Historic Overtown, one of Miami's most significant centers of Black commerce, hospitality, music, and cultural life, Point Comfort connects the neighborhood's history with contemporary Africana artistic expression.

“If the Atlantic was the space that separated African peoples, art became the language that reunited them. The Black Atlantic speaks many languages, but art is its most enduring voice.”

— Christopher M. Norwood, Founder, Hampton Art Lovers

Point Comfort 2026 celebrates the Black Atlantic as a living cultural network—one that connects history to the present, artistic heritage to innovation, and communities across the African diaspora.

December 2–6, 2026
Main Gallery | Historic Ward Rooming House Gallery & Gardens

Loïs Mailou Jones: Across the Black Atlantic presents 20 works and accompanying ephemera by and relating to Loïs Mailou Jones (1905–1998), tracing the extraordinary career of an artist whose creative journey connected the United States, Europe, the Caribbean, and Africa.

Over nearly seven decades, Jones established herself as a pioneering painter, designer, educator, and cultural ambassador whose work helped expand the possibilities of African American art and its place within the international artistic community.

Born in Boston, Massachusetts, Jones came of age during the Harlem Renaissance, a period of extraordinary intellectual and artistic achievement that encouraged African American artists to explore their cultural heritage while asserting their place within modern American society.

She studied at the School of the Museum of Fine Arts in Boston and began her professional career as a textile designer. Although her early designs achieved commercial success, racial and gender discrimination limited opportunities for recognition as a fine artist. Determined to establish herself as a painter, Jones pursued a career that would ultimately cross continents, artistic movements, and cultural traditions.

In 1928, Jones joined the faculty of Palmer Memorial Institute in North Carolina, the influential school founded by educator Charlotte Hawkins Brown. Two years later, she began teaching at Howard University in Washington, D.C., where she would remain an influential member of the art faculty for nearly half a century.

At Howard, Jones became part of an extraordinary intellectual and creative community committed to advancing African American cultural expression. Her career developed alongside the work of major figures such as Alain Locke and James A. Porter, whose scholarship and advocacy helped shape the study and interpretation of African American art.

Jones's teaching and mentorship influenced generations of artists, while her own artistic practice demonstrated that Black identity could be expressed through a sophisticated engagement with African cultural traditions and international modernism.

A transformative moment came in 1937, when Jones received a fellowship to study in Paris at the Académie Julian.

In France, she encountered an artistic environment that offered freedoms and professional recognition often denied to African American artists in the United States. Paris expanded her engagement with European painting traditions and strengthened her commitment to portraying Black subjects with dignity, beauty, and psychological depth.

Her celebrated painting Les Fétiches (1938), inspired by African masks and modernist experimentation, became an important expression of the relationship between African visual traditions and European modernism.

The work exemplified Jones's ability to transform diverse artistic influences into an original language rooted in her cultural identity.

Paris also established an enduring international dimension to her career, demonstrating that an African American woman artist could participate fully in the artistic conversations shaping twentieth-century modernism.

Jones's relationship with Haiti became another defining chapter of her career.

Following her marriage to Haitian graphic artist Louis Vergniaud Pierre-Noël in 1953, she developed a profound engagement with the nation's people, history, landscapes, spiritual traditions, and artistic culture.

Her travels and research in Haiti introduced new colors, rhythms, symbols, and compositional approaches into her work.

For Jones, Haiti represented more than artistic inspiration. As the first independent Black republic, it embodied a history of resistance, self-determination, and cultural achievement that resonated deeply with her understanding of the African diaspora.

Her Haitian paintings reflect a sustained dialogue between modernist experimentation and the distinctive visual traditions of the Caribbean.

During the late 1960s and early 1970s, Jones expanded her artistic and cultural exploration through travel and research in West Africa.

With support from Howard University, she studied artistic traditions in countries including Ghana, Nigeria, Senegal, and Côte d'Ivoire. Her encounters with African artists, textiles, masks, sculpture, architecture, and ceremonial traditions profoundly influenced her later work.

Rather than merely reproducing African imagery, Jones incorporated these experiences into an evolving visual vocabulary that connected African heritage with contemporary artistic expression.

Her paintings increasingly embraced bold colors, layered patterns, symbolic forms, and compositions reflecting the cultural continuities linking Africa with its global diaspora.

Throughout her career, Jones resisted being confined to a single artistic category.

She moved confidently among portraiture, landscape, still life, abstraction, and compositions inspired by African and Caribbean visual traditions. Her work demonstrated that African American art could participate fully in international modernism while remaining grounded in the histories and experiences of people of African descent.

Jones also challenged institutional barriers that historically excluded Black artists, particularly Black women, from major exhibitions, galleries, and museums.

Her determination to exhibit internationally, participate in professional artistic organizations, and receive recognition on the merits of her work helped open opportunities for subsequent generations.

By the later decades of her life, Jones had become an internationally recognized artist whose career reflected the increasing visibility and importance of African American art.

Yet her influence extended beyond her paintings. As a longtime Howard University professor, Jones helped nurture artists who would carry forward new approaches to African American visual expression.

Her legacy is inseparable from the development of Black art education, cultural scholarship, and the broader movement to establish African American art as an essential part of world art history.

The exhibition explores six interconnected chapters of Jones's artistic development:

1. America — Formation

From Boston to Washington, D.C., Jones's early career emerged within the cultural awakening of the Harlem Renaissance and the growing movement to establish African American art as a significant field of artistic achievement. Her education, early design work, and teaching career at Howard University laid the foundation for her international artistic vision.

2. Paris — Freedom and Modernism

Jones's experiences in Paris introduced her to new artistic freedoms and expanded her engagement with European modernism. Her work from this period demonstrates the relationship between technical mastery, artistic experimentation, and the assertion of Black identity within international art movements.

3. Haiti — The Black Republic

Haiti became a powerful source of cultural and artistic inspiration. Jones's engagement with its history, landscape, spiritual traditions, and visual culture produced works that celebrated the richness of Caribbean identity while exploring the historical significance of Black independence and self-determination.

4. Africa — Return and Reconnection

Jones's travels and research in West Africa deepened her understanding of African artistic traditions and their connections to the diaspora. Her encounters with African textiles, masks, sculpture, and symbolic forms informed an increasingly expressive visual language.

5. Synthesis — A Black Atlantic Language

Across decades of experimentation, Jones developed a distinctive artistic vocabulary that brought together American, European, Caribbean, and African influences. Her mature work reveals the Black Atlantic not as a collection of separate cultures, but as an interconnected world of artistic exchange and transformation.

6. The Howard Legacy — Across Generations

Jones's nearly fifty years at Howard University established her as one of the most influential art educators of her generation. Her teaching, mentorship, and commitment to artistic excellence helped shape the development of African American art and inspired generations of artists to explore their cultural identities within a global context.

The concept of The Black Atlantic provides a particularly meaningful framework for understanding Jones's career.

Her life and work demonstrate how artistic ideas, cultural identities, and historical experiences circulated among African-descended communities separated by geography but connected through shared histories.

Jones's artistic journey was not a simple progression from America to Europe, Haiti, and Africa. It was a continuous process of discovery, reinterpretation, and synthesis.

Each encounter expanded her artistic vocabulary while deepening her understanding of the relationships among Black communities throughout the world.

Presented through 20 works and accompanying ephemera, the exhibition offers visitors an opportunity to consider Jones not only as a pioneering African American painter, but as an international artist whose career anticipated many of the conversations about diaspora, identity, cultural exchange, and global Black creativity that remain central to contemporary art.

Her work embodies the spirit of Point Comfort Art Fair & Show 2026: an understanding that Africana artistic expression is both deeply rooted in particular histories and capable of transcending geographical boundaries.

Jones did not simply travel through the Black Atlantic. She made the Black Atlantic visible.

December 2–6, 2026
Mezzanine Gallery | Historic Ward Rooming House Gallery & Gardens

Safe Harbors: Mapping Freedom Across the Black Atlantic presents works by contemporary artist Brandon Clarke exploring the enduring search for freedom, protection, dignity, and belonging among people of African descent.

Drawing inspiration from the Negro Motorist Green Book, the installation connects the networks of refuge that sustained African Americans during segregation with earlier communities of Black resistance and self-determination across the Atlantic world.

In seventeenth-century Brazil, Quilombo dos Palmares emerged as a powerful center of African resistance, autonomy, and collective survival. In eighteenth-century Spanish Florida, Fort Mose provided sanctuary for formerly enslaved Africans seeking freedom from British colonial slavery.

Centuries later, the Green Book helped African American travelers navigate segregation by identifying hotels, restaurants, rooming houses, and businesses where they could find accommodations and relative safety.

Historic Overtown occupies an essential place in this geography of Black refuge.

During segregation, the neighborhood became a thriving center of Black commerce, hospitality, entertainment, and cultural life. Its hotels, rooming houses, restaurants, and gathering places provided sanctuary and community for African American travelers, artists, and performers excluded from much of Miami.

Among these historic institutions was the Ward Rooming House, built in 1925 by Shaddrack and Victoria Ward.

The building provided accommodations to Black travelers and others who faced racial exclusion, becoming part of Overtown's larger network of hospitality and refuge.

Today, the restored Ward Rooming House serves as a center for artistic expression and cultural preservation. Presenting Safe Harbors within its mezzanine gallery transforms the historic building itself into an essential part of the exhibition's narrative.

Through Clarke's work, visitors are invited to consider the connections among Palmares, Fort Mose, the Green Book, Historic Overtown, and the Ward Rooming House—places and networks shaped by the determination of Black communities to create spaces of safety, autonomy, and belonging.

Presented alongside the Loïs Mailou Jones exhibition, Safe Harbors offers a complementary exploration of the Black Atlantic experience.

While Jones's work traces the movement of Black artistic identity and cultural expression across continents, Clarke examines the places and networks that made survival, mobility, and freedom possible.

Together, the exhibitions reveal the Black Atlantic as both a cultural geography and a geography of freedom.

From Palmares to Fort Mose, from the Green Book to Historic Overtown, the search for safe harbor is part of the geography of Black freedom.

The Indaba Lounge Series is Point Comfort's signature platform for artist conversations, cultural dialogues, book presentations, and institutional exchanges.

The series takes place across two distinctive Historic Overtown venues.

Historic Ward Rooming House Gallery & Gardens is the principal exhibition venue, where art, history, literature, and music converge in a restored cultural landmark.

The Pool Hall at Red Rooster Overtown is an intimate gathering space inspired by the traditions of Black social clubs and juke joints, featuring permanently installed original works by Ernie Barnes.

Together, these spaces encourage conversations that connect the historical achievements of Black artists with contemporary creative practices and the future of Africana cultural institutions.

Official Media Sponsor: The International Review of African American Art (IRAAA), founded in 1976 by Dr. Samella Sanders Lewis, celebrates its fiftieth anniversary in 2026.

7:00–11:00 PM | AN EVENING OF ART & SOUND

Red Rooster Overtown
Private — By Invitation Only

Presented by Red Rooster Overtown in partnership with Hampton Art Lovers.

An intimate evening celebrating the relationship between contemporary art, music, and cultural expression.

The evening begins with a private dinner honoring internationally renowned multidisciplinary artist Sanford Biggers, followed by a special performance by GRAMMY Award-winning vocalist Bilal in the upstairs Pool Hall.

This invitation-only gathering sets the cultural tone for Point Comfort 2026, connecting visual art, music, conversation, and hospitality through the spirit of the Black Atlantic.

7:00–9:00 PM | PRIVATE EXHIBITION PREVIEW

Historic Ward Rooming House Gallery & Gardens
Private — By Invitation Only

An exclusive preview of the featured exhibitions:

• Loïs Mailou Jones: Across the Black Atlantic — featuring 20 works and ephemera.
• Safe Harbors: Mapping Freedom Across the Black Atlantic — a mezzanine installation featuring Brandon Clarke.

Invited collectors, artists, cultural institutions, partners, and special guests will have an opportunity to experience the exhibitions before the fair's public programming.

7:00–11:00 PM | POINT COMFORT OFFICIAL OPENING RECEPTION

The Pool Hall at Red Rooster Overtown

Hosted by: 100 Black Men of South Florida
Opening Reception Partner: Miami-Dade Economic Advocacy Trust (MDEAT)

Point Comfort officially opens with an evening celebrating the artists, institutions, collectors, cultural leaders, and community partners who make the fair possible.

The reception introduces the 2026 theme, The Black Atlantic, and celebrates Historic Overtown's continuing role as a center of Black artistic and cultural expression.

6:00–9:30 PM | BPM: BEATS, PICS, & MASTERS

Historic Ward Rooming House Gallery & Gardens

Featuring: Rahsaan “FLY GUY” Alexander and the 2027 Black Carolina Artists in Residence (BCAR)

In Partnership with: The Black Carolina Initiative (BCI) of the Harvey B. Gantt Center for African-American Arts + Culture

Part of the Point Comfort Indaba Lounge Series

During Soul Basel, Point Comfort presents an evening of photography, music, artistic dialogue, and cultural exchange exploring how Black artists preserve cultural identity, build community, and foster solidarity across the Black Atlantic.

The evening celebrates the release of BPM: Beats, Pics, & Masters, the culminating fourth installment in Rahsaan “FLY GUY” Alexander's photographic storytelling series.

Moving beyond the public personas of DJs, the project examines the emotional demands, psychological pressures, personal sacrifices, and humanity of the individuals who shape our musical experiences.

At the heart of the program is Solidarity in Vision: How Art Builds an International Black Community, a unified panel featuring Alexander alongside the 2027 Black Carolina Artists in Residence.

Presented in partnership with the Black Carolina Initiative of the Harvey B. Gantt Center for African-American Arts + Culture, the conversation explores how photography, music, and visual art preserve cultural memory, connect Black communities across geographical boundaries, and create opportunities for collaboration and collective progress.

By bringing artists rooted in the Carolinas into conversation with Miami's vibrant Black arts community, the gathering seeks to build relationships that extend beyond Miami Art Week.

Following the panel, Alexander moves from the conversation to the turntables, providing the soundtrack for a networking reception bringing together artists, collectors, cultural leaders, and community members.

6:00–7:00 PM | BPM Book Release & Welcome Reception

An opportunity to experience BPM: Beats, Pics, & Masters, meet participating artists, and connect with members of the creative community.

7:00–8:00 PM | Solidarity in Vision — Unified Artist Panel

How Art Builds an International Black Community

Featuring Rahsaan “FLY GUY” Alexander and the 2027 Black Carolina Artists in Residence in a shared conversation about cultural identity, artistic expression, Black Atlantic connections, and the role of art in building lasting relationships.

8:00–9:30 PM | BPM Networking Reception — Sounds by Rahsaan “FLY GUY” Alexander

An evening of music, conversation, and cultural exchange, with Alexander spinning a DJ set celebrating the sounds and connections of the Black Atlantic.

Hosted by Hampton University, Hampton University Museum, and The International Review of African American Art

A signature day of Point Comfort programming celebrating Hampton University's extraordinary contributions to the visual arts, cultural scholarship, and creative leadership.

Three conversations at The Pool Hall at Red Rooster Overtown are followed by an evening reception at the Historic Ward Rooming House Gallery & Gardens.

The Pool Hall at Red Rooster Overtown

Featuring Hampton alumni Nikkolas Smith ’08, Brandon Clarke ’09, Benford Stellmaker ’98, Phillip Shung ’96, and additional special guests.

This conversation explores how Hampton University has helped shape generations of artists, designers, and cultural innovators whose work influences creative industries around the world.

Panelists will reflect on their artistic journeys, the role of Hampton in their professional development, and the ways Hampton's legacy continues to influence contemporary visual culture.

Honoring Our History. Preserving Our Legacy. Inspiring Generations.

The Pool Hall at Red Rooster Overtown

Featuring Dr. Vanessa Thaxton-Ward, Curator of the Hampton University Museum.

Founded in 1868, the Hampton University Museum holds a distinguished place in American cultural history and is among the nation's oldest museums.

This conversation explores the museum's historical significance, its extraordinary collections, and its future as an institution dedicated to preserving and interpreting African American, African, and Indigenous artistic traditions.

The discussion will consider philanthropy, alumni engagement, partnerships, collections stewardship, and opportunities to expand the museum's national and international reach.

The program also recognizes the complementary legacy of The International Review of African American Art, founded by Hampton alumna Dr. Samella Sanders Lewis, as it marks fifty years of scholarship, criticism, and documentation of Black artistic achievement.

A Conversation with Nikkolas Smith ’08 and Dr. Vanessa Thaxton-Ward
The Pool Hall at Red Rooster Overtown

From the imagined world of Wakanda to the ancestral rhythms of Sinners, Nikkolas Smith helps translate Black stories into powerful cinematic images.

A 2008 Hampton University graduate with a Master of Architecture, Smith brings an architect's understanding of space and an artivist's commitment to cultural memory to his work as a film concept artist, illustrator, and visual storyteller.

Join Smith in conversation with Dr. Vanessa Thaxton-Ward as they explore his contributions to Ryan Coogler's Sinners and Black Panther: Wakanda Forever, alongside his work on Judas and the Black Messiah and Space Jam: A New Legacy.

Through the lens of the Black Atlantic, the conversation examines how images carry African heritage across borders and generations—preserving history, expressing resistance, and imagining Black futures.

Historic Ward Rooming House Gallery & Gardens

Hosted by: Hampton University, Hampton University Museum, and The International Review of African American Art

An evening reception honoring Hampton University's global artistic legacy and celebrating the featured Point Comfort exhibitions.

The reception features:

An Afrobeat-centered musical experience drawing on the cultural connections among African rhythms, jazz, funk, soul, and the African American musical tradition.

Rich Medina, creator of JUMP N FUNK, brings his distinctive approach to the music of Fela Kuti and the global sounds of the African diaspora.

Historic Ward Rooming House Gallery & Gardens

Featuring: JT6 Orchestra
Hosted by: Williams-Franklin Foundation
A Fundraising Celebration Supporting HBCU Students

Point Comfort's Saturday evening culminates with a special edition of Jazz Under a Simple Tree, featuring JT6 Orchestra in a musical celebration of The Black Atlantic.

Through a dynamic program of traditional American jazz and Afro-Cuban jazz, JT6 Orchestra will explore the rhythms, musical traditions, and cultural exchanges that connect Africa, the Caribbean, and the United States.

Born from the African American experience, jazz developed through a remarkable convergence of African rhythmic traditions, blues, spirituals, ragtime, and improvisation. Across the Caribbean, these same African musical foundations evolved through distinct cultural encounters, producing Afro-Cuban traditions that contributed to the development of Latin jazz.

The relationship between these traditions reflects the central theme of Point Comfort 2026: that the Black Atlantic is not simply a geography, but a living network of cultural exchange, creativity, and shared heritage.

From the syncopated rhythms of New Orleans to the Afro-Cuban musical traditions of Havana, JT6 Orchestra will celebrate the enduring dialogue between African-descended communities and the music they have created.

Presented beneath the stars in the historic Ward Gardens, the evening brings together music, cultural history, and community in one of Overtown's most distinctive artistic settings.

Hosted by the Williams-Franklin Foundation, the performance also serves as a fundraising celebration supporting students attending Historically Black Colleges and Universities.

Jazz Under a Simple Tree — Point Comfort Edition demonstrates how the music of the African diaspora continues to cross borders, unite communities, and carry forward the creative legacy of the Black Atlantic.

Time: To Be Announced
Historic Ward Rooming House Gallery & Gardens

Point Comfort concludes with a day dedicated to community engagement, cultural discovery, and access to the arts.

Visitors are invited to experience the Loïs Mailou Jones exhibition and Brandon Clarke's Safe Harbors installation while reflecting on the shared histories and cultural connections explored throughout the fair.

Historic Overtown is more than the location of Point Comfort. It is an essential part of the fair's cultural and historical narrative.

For generations, Overtown served as a center of Black business, entertainment, hospitality, faith, and community life. Its hotels, rooming houses, restaurants, and performance venues welcomed African American travelers and internationally celebrated entertainers during an era of segregation.

The neighborhood's history also reflects Miami's connections to the Bahamas, the Caribbean, and the wider Atlantic world.

Through its programming at the Historic Ward Rooming House and Red Rooster Overtown, Point Comfort connects this history with contemporary artistic practice, reinforcing the neighborhood's importance as a living center of Africana cultural expression.

Point Comfort is more than an art exhibition. It is a multidisciplinary gathering that brings together art history, contemporary creativity, cultural scholarship, music, literature, and community engagement.

The 2026 edition places two complementary artistic narratives at its center: Loïs Mailou Jones's exploration of identity across continents and Brandon Clarke's examination of the spaces and networks through which Black communities pursued refuge and freedom.

The fair's musical programming extends these narratives, from Rich Medina's exploration of Afrobeat and African diasporic sound to JT6 Orchestra's celebration of the relationship between traditional American jazz and Afro-Cuban jazz.

Together with the Indaba Lounge Series and Legacy in Color, these experiences invite audiences to consider how Black communities have created, preserved, and transmitted cultural meaning across generations.

Presented by
Hampton Art Lovers

Institutional & Program Partners

• Hampton University
• Hampton University Museum
• Hampton University Alumni Relations
• Harvey B. Gantt Center for African-American Arts + Culture
• Black Carolina Initiative (BCI)
• Red Rooster Overtown
• 100 Black Men of South Florida — Official Opening Reception Host
• Miami-Dade Economic Advocacy Trust (MDEAT) — Opening Reception Partner
• Williams-Franklin Foundation — Jazz Under a Simple Tree Host
• City of Miami Mayor Eileen Higgins — Community Partner

Sponsors

• Art of Black Miami — Greater Miami Convention & Visitors Bureau
• Southeast Overtown/Park West Community Redevelopment Agency
• E11EVEN Vodka
• Harvey B. Gantt Center for African-American Arts + Culture — Saturday Reception Sponsor

Official Media Sponsor — Indaba Lounge Series
The International Review of African American Art (IRAAA)

Info: Hosted by: 100 Black Men of South Florida Opening Reception Partner: Miami-Dade Economic Advocacy Trust (MDEAT) | Exhibition Venue: Historic Ward Rooming House Gallery, the official opening reception gathers artists, collectors, cultural leaders, institutional partners, and Miami Art Week visitors to celebrate Point Comfort's 2026 edition. The reception takes place at The Pool Hall at Red Rooster Overtown, while the featured Loïs Mailou Jones exhibition is presented separately at the nearby Historic Ward Rooming House Gallery.

Info: Books, Images & International Solidarity | BPM: BEATS, PICS, & MASTERS
Solidarity in Vision: How Art Builds an International Black Community

Featuring: Rahsaan “FLY GUY” Alexander and the 2027 Black Carolina Artists in Residence (BCAR). In Partnership with: The Black Carolina Initiative (BCI) of the Harvey B. Gantt Center for African-American Arts + Culture

Info: | 2:00 – 3:00 pm | Hampton's Creative Legacy | 3:30 – 4:00 pm | Future of Hampton University Museum | 4:30 – 5:30 pm | From Hampton to Wakanda

Info: Venue: Historic Ward Rooming House Gallery & Gardens
Historic Overtown, Miami

Featuring “Sound Sculptures” — Sounds Curated by Rich Medina

Following the artist talk, the celebration moves to the Historic Ward Rooming House Gallery & Gardens for the Legacy in Blue reception, honoring Hampton University's artistic heritage and its continuing influence on generations of creative leaders.

The reception features “Sound Sculptures,” an Afrobeat-focused musical experience curated by Rich Medina.

As the creator of JUMP N FUNK, the influential music and dance experience celebrating the legacy of Nigerian musician Fela Kuti, Medina has spent decades connecting audiences with Afrobeat and its relationship to funk, jazz, soul, and African American musical traditions.

His musical approach embodies The Black Atlantic, tracing the exchange of rhythms, ideas, and cultural influences between Africa, the Caribbean, and the Americas. Through Sound Sculptures, Medina transforms the reception into a l

Event venue & nearby stays

Historic Ward Rooming House Gallery & Gardens & Red Rooster's Pool Hall Lounge, 249 Northwest 9th Street, Miami, United States

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