“Nari Ward: We the People”

This first ever museum survey of the Jamaican-born sculptor spans his 25-year career, much of which he spent mining materials from the streets of his Harlem neighborhood to use in powerful found-object installations dealing with social justice and the black experience in America. The pieces on view include the recreation of a site-specific, 1993 work originally mounted in an abandoned firehouse. Comprising 310 abandoned strollers, arranged in an oval with a central walkway made of flattened fire hoses, Amazing Grace, as it’s called, was initially created as a response to the crack and AIDS epidemics wracking communities of color at the time.