visual art

This is the first in a weekly series presenting highlights of conversations between the Boston artist Paul Goodnight and some of New England’s leading Black visual artists.

Artists have taken to the Internet during COVID-19, not only to share their art but to teach it as well. It turns out, art appreciation and art-making classes can be taken from your living room.

Last week, the Isabella Stewart Gardner Museum made Boston art history with the opening of their show “Boston’s Apollo: Thomas McKeller & John Singer Sargent.”

“When Home Won’t Let You Stay: Migration through Contemporary Art” is the poetic title of a powerful new show at the Institute of Contemporary Art/Boston.

The first sight of “Joiri Minaya: Gazing Back” at the UMass Boston University Hall Gallery is a stretchy nylon fabric that wraps the side of the gallery in a loud tropical print.

Two weeks ago, at the Institute of Contemporary Art, jazz pianist and multimedia artist Jason Moran opened the first museum-scale survey of his collaborations with visual artists with a brief performance. Like these projects, his on-stage prelude was a semi-staged and semi-improvisation combination of words, movement, music and spectacle.

When painter Alexandre Emmanuel Henrique emigrated from Brazil in 2004, it was nature that introduced him to the United States. Through his travels all over the country, particularly in California and New England, the artist discovered landscapes, animals, insects and phenomena he had never encountered in South America. These discoveries inspired “Elements,” an exhibition at Piano Craft Gallery in Boston through June 24.