March 13 - 31 Agatha Christie's Murder on the Orient Express. Wherever famed detective Hercule Poirot goes, murder is never far behind! On his journey home from Istanbul to London on the luxurious Orient Express, an avalanche stops the train and Poirot must interrogate the parade of passengers, solve the murder, and save the reputation of the famous train before the killer strikes again. The ultimate Whodunit! “Glamourous and enthralling from the beginning to the end.” – BroadwayWorld

March 13 - 31 Agatha Christie's Murder on the Orient Express. Wherever famed detective Hercule Poirot goes, murder is never far behind! On his journey home from Istanbul to London on the luxurious Orient Express, an avalanche stops the train and Poirot must interrogate the parade of passengers, solve the murder, and save the reputation of the famous train before the killer strikes again. The ultimate Whodunit! “Glamourous and enthralling from the beginning to the end.” – BroadwayWorld

Throughout her career, Brooklyn-based artist Sana Musasama has drawn inspiration from travel and research into global cultures. Returning to Ourselves centers around a series of dolls that Musasama produced that mirror African-American topsy turvy dolls containing a white doll whose skirt can be flipped up to transform it into a Black doll. Musasama uses this formal structure to juxtapose different figures drawn from the global Black diaspora. Returning to Ourselves is rounded out by a series of ceramic houses Musasama began early in her career but returned to during the pandemic to combat looming depression.  

March 13 - 31 Agatha Christie's Murder on the Orient Express. Wherever famed detective Hercule Poirot goes, murder is never far behind! On his journey home from Istanbul to London on the luxurious Orient Express, an avalanche stops the train and Poirot must interrogate the parade of passengers, solve the murder, and save the reputation of the famous train before the killer strikes again. The ultimate Whodunit! “Glamourous and enthralling from the beginning to the end.” – BroadwayWorld

Throughout her career, Brooklyn-based artist Sana Musasama has drawn inspiration from travel and research into global cultures. Returning to Ourselves centers around a series of dolls that Musasama produced that mirror African-American topsy turvy dolls containing a white doll whose skirt can be flipped up to transform it into a Black doll. Musasama uses this formal structure to juxtapose different figures drawn from the global Black diaspora. Returning to Ourselves is rounded out by a series of ceramic houses Musasama began early in her career but returned to during the pandemic to combat looming depression.  

Throughout her career, Brooklyn-based artist Sana Musasama has drawn inspiration from travel and research into global cultures. Returning to Ourselves centers around a series of dolls that Musasama produced that mirror African-American topsy turvy dolls containing a white doll whose skirt can be flipped up to transform it into a Black doll. Musasama uses this formal structure to juxtapose different figures drawn from the global Black diaspora. Returning to Ourselves is rounded out by a series of ceramic houses Musasama began early in her career but returned to during the pandemic to combat looming depression.  

Throughout her career, Brooklyn-based artist Sana Musasama has drawn inspiration from travel and research into global cultures. Returning to Ourselves centers around a series of dolls that Musasama produced that mirror African-American topsy turvy dolls containing a white doll whose skirt can be flipped up to transform it into a Black doll. Musasama uses this formal structure to juxtapose different figures drawn from the global Black diaspora. Returning to Ourselves is rounded out by a series of ceramic houses Musasama began early in her career but returned to during the pandemic to combat looming depression.  

Throughout her career, Brooklyn-based artist Sana Musasama has drawn inspiration from travel and research into global cultures. Returning to Ourselves centers around a series of dolls that Musasama produced that mirror African-American topsy turvy dolls containing a white doll whose skirt can be flipped up to transform it into a Black doll. Musasama uses this formal structure to juxtapose different figures drawn from the global Black diaspora. Returning to Ourselves is rounded out by a series of ceramic houses Musasama began early in her career but returned to during the pandemic to combat looming depression.