Chorus

Open today until 5 PM Owen Forbes: “You might be taller now” On view through May 31 Documentation by: Owen Forbes (@owen.m.f )

Open today until 5 PM Owen Forbes: “You might be taller now” On view through May 31 Owen Forbes “Youngest,” 2026 Archival pigment print 14 x 11 inches

Open today until 5 PM Owen Forbes: “You might be taller now” On view through May 31 Owen Forbes, “Convex II,” 2026 Archival pigment print 14 x 11 inches

Thank you to everyone for coming to the opening of Owen Forbes’s solo exhibition, “You might be taller now” Open Sundays 12–5 and on view through May 31 Owen Forbes “James,” 2026 Archival pigment print 11 x 14 inches

Opening Saturday, April 25, 7–9 PM! Chorus presents Owen Forbes: “You might be taller now” Owen Forbes “Convex I,” 2026 Archival pigment print 14 x 11 inches

Chorus presents Owen Forbes’s debut solo exhibition, “You might be taller now,” with an opening reception on Saturday, April 25 from 7-9 PM. The exhibition features all new photographs by Forbes and will be on view until May 31.

Final hours of “People, Times, and Lives” For a brief moment, the speakers fell silent and all we could hear was the theater breathing. Sounds and images became lives, became stories, transformed into memories of our own, and reverberated within us as feelings. Documentation by: Owen Forbes (@owen.m.f )

Tomorrow is the final day to view “People, Times, and Lives,” open from 12–5 PM. Miguel Caba’s “First Steps” represents the two ends of an imagined journey between Rizal, Phillipines and Boston, MA, Caba’s grandmother living in the former and Caba living in the latter. The work consists of two paintings, one depicting the first steps from Miguel’s grandmother’s home in Rizal toward Miguel’s home in Boston, and the other depicting the reverse. The painting of Rizal is installed at Chorus and the painting of Boston is installed in Caba’s studio in Boston for the duration of the exhibition. By experiencing each location in isolation, we must contend with the space in between them and the emotions that accompany distance. To walk from end to end of each painting is to embody and reenact the beginning of this journey, their physicality an invitation to participate in the specificity of this relationship of separation. Miguel Caba “First Steps (Rizal to Boston),” 2024 Acrylic on wood 96 x 5 x 3 inches On view in “People, Times, and Lives” at Chorus through April 12. Documentation by: Owen Forbes (@owen.m.f )

The archival polaroids [included in “People, Times, and Lives”] depict moments in the lives of strangers, artifacts of memories lost in the wind, eventually finding their way into a collection alongside tens of thousands of images; strangers amongst strangers; moments amongst moments; lives amongst lives. Morgan Maben first saw these polaroids in the Peter J Cohen Collection after she had begun working with her mother’s polaroids from a similar time and shared that the archival images “speak her [mother’s] language of seeing. In the strangeness. The tenderness. The razor sharp eye for color and line.” She added, “I’ve shown a few of them to her and she actually mistook a couple as our family photographs at first glance.” Archival polaroid, date unknown Courtesy of the Peter J Cohen Collection 3 3/8 x 3 1/4 inches On view in “People, Times, and Lives” at Chorus through April 12. Documentation by: Owen Forbes (@owen.m.f )

The archival polaroids [included in “People, Times, and Lives”] depict moments in the lives of strangers, artifacts of memories lost in the wind, eventually finding their way into a collection alongside tens of thousands of images; strangers amongst strangers; moments amongst moments; lives amongst lives. Morgan Maben first saw these polaroids in the Peter J Cohen Collection after she had begun working with her mother’s polaroids from a similar time and shared that the archival images “speak her [mother’s] language of seeing. In the strangeness. The tenderness. The razor sharp eye for color and line.” She added, “I’ve shown a few of them to her and she actually mistook a couple as our family photographs at first glance.” Archival polaroid, date unknown Courtesy of the Peter J Cohen Collection 3 3/8 x 4 1/2 inches On view in “People, Times, and Lives” at Chorus through April 12. Documentation by: Owen Forbes (@owen.m.f )

In “Rite of Passage,” a screenplay for an unmade short film, Michael Fadugbagbe depicts the pain of loss as a process that culminates in collective remembrance. Mr. Yemi’s passing was a first encounter with grief for Fadugbagbe. Elder asks the crowd at the funeral, “who will remember you, and how will you be remembered?” And as you read, you will begin to remember Mr. Yemi too, in the images conjured by the words of the speakers at his funeral and in the communal act of song. Michael Fadugbagbe “Rite of Passage,” 2026 Framed screenplay 25 1/8 x 35 1/4 inches On view in “People, Times, and Lives” at Chorus through April 12. Documentation by: Owe Forbes (@owen.m.f )

The archival polaroids [included in “People, Times, and Lives”] depict moments in the lives of strangers, artifacts of memories lost in the wind, eventually finding their way into a collection alongside tens of thousands of images; strangers amongst strangers; moments amongst moments; lives amongst lives. Morgan Maben first saw these polaroids in the Peter J Cohen Collection after she had begun working with her mother’s polaroids from a similar time and shared that the archival images “speak her [mother’s] language of seeing. In the strangeness. The tenderness. The razor sharp eye for color and line.” She added, “I’ve shown a few of them to her and she actually mistook a couple as our family photographs at first glance.” Archival polaroid, date unknown Courtesy of the Peter J Cohen Collection 4 1/4 x 3 1/2 inches On view in “People, Times, and Lives” at Chorus through April 12. Documentation by: Owen Forbes (@owen.m.f )