the new masters

Provocative, awe-inspiring Kehinde Wiley MFAH showcase remains this season's must-see exhibit

Houston art lovers who haven’t yet attended the “Kehinde Wiley: An Archaeology of Silence” exhibit at the Museum of Fine Arts, Houston are missing out on a showcase of jaw-dropping art.

The recently opened exhibit is an awe-inspiring collection of paintings and sculptures from the Los Angeles-born, Brooklyn-based artist of color, best known for creating a majestically leafy portrait of former President Barack Obama. Locals will remember that the MFAH was one of the rare museums to showcase the works — starting with a free opening weekend that became a city celebration.

While “An Archaeology of Solace” premiered earlier this year at the Fine Arts Museums of San Francisco, the MFAH is actually the first stop on its tour. Located in the Audrey Jones Beck Building, the exhibit is an overwhelming experience of Black power.

And it’s a power shift. While Wiley’s large-scale paintings and sculptures call to mind the heroes, martyrs, and saints of Western European historical art, they are unmistakably Black and brown subjects who suffer under “the specter of police violence and state control over the bodies of young Black and Brown people all over the world,” Wiley notes in an artist statement.

Thus, the rooms are all Black, as the gigantic oil-on-canvas paintings (a couple are practically the size of billboards) of laid-out Black bodies – usually rocking streetwear gear – are brightly spotlighted. Many of these works were inspired by historical pieces, mainly German artist Hans Holbein’s The Body of the Dead Christ in the Tomb.

The bronze sculptures are equally grand and striking. The most impressive one is the titular statue, a reworking of his 2019 sculpture Rumors of War. While the Rumors sculpture depicts an upright Black rider on a general’s horse, this sculpture features a fallen figure atop a horse.

Both sculptures are based on a monument to Confederate army General James Ewell Brown Stuart, which was removed and placed into storage in the wake of the 2020 George Floyd murder.

This entire exhibit was inspired by the worldwide outrage that transpired after Floyd’s death at the hands of Minneapolis police. Wiley himself explains the inspiration for the exhibit via the audio guide given to visitors:

The birth of the show starts as the world shuts down. As we see George Floyd slain in the streets of America, I get to work. I start thinking not only about this explosive moment that triggers the whole world into thinking about Black bodies in a different way, But I start thinking about imaging of bodies slain historically.

Fans of the artist can look forward to Kehinde Wiley merch upstairs in the gift shop. An obligatory exhibition catalog is for sale, as well as hoodies, umbrellas, bookbags, playing cards, coloring books, and more. Proceeds will go to the Black Rock Coalition, a New York-based artists’ collective.

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“Kehinde Wiley: An Archaeology of Solace” will be on display at the Audrey Jones Beck Building of the MFAH (5601 Main St.). For exhibition schedule, tickets, and more, visit the MFAH online.

Kehinde Wiley, The Death of Hyacinth (Ndey Buri Mboup), 2022, oil on canvas

Wiley's The Death of Hyacinth (Ndey Buri Mboup), 2022.

building ballet's brand

Houston Ballet recruits ex-Netflix exec to serve as first-ever CMO

Photo by Grace Hwang

Adama Sall starts as the Houston Ballet's first-ever chief marketing officer on January 26, 2026.

The Houston Ballet announced it has hired Adama Sall as the organization’s first-ever chief marketing officer.

Sall, who starts her tenure with the Ballet on January 26, will oversee all marketing and brand strategy as part of the executive leadership team. Sall brings more than 20 years of experience building global, culturally influential brands to this newly created role.

“Having worked with the best and the brightest, Adama is passionate about what Houston Ballet is set to accomplish, including building a brand that feels essential, modern, and deeply integrated into people’s lives,” executive director Sonja Kostich said in a statement. “We are focused on aligning how we show up across ticketing, digital platforms, public relations, events, education, and community engagement — so that every touchpoint tells a cohesive, compelling story. This is not about following traditional ballet marketing playbooks, this is a rare opportunity to shape the identity of an already stable, well-resourced organization and bring fresh creative energy to an institution poised for reinvention. We are thrilled to have her joining us at this pivotal moment for the Company’s growth.”

Sall is excited for what comes next.

“Sonja's vision for elevating Houston Ballet into a global cultural force resonates,” Sall tells CultureMap. “It reflects the kind of bold ambition I grew up with in advertising: building iconic brands, reshaping categories and setting aspirations that inspire not just an entire organization, but the culture at large.”

Throughout her career, Sall has worked with both top creative agencies and held in-house leadership roles at some of the most innovative, culture-shaping companies in the country. She is known for collaborating with deeply creative teams and partners who are ready to think differently, and for translating big, imaginative ideas into scalable strategies. She has partnered with leading agencies including Mekanism, Ogilvy & Mather, BBDO, McCann, TBWA\Chiat\Day, and R/GA, and has led brand strategy for some of the world’s most recognized companies, including Disney, Coca-Cola, HBO, Gap, Peloton, Starbucks, Ben & Jerry’s, Samsung, Jeep, Nasdaq, HP, GE Appliances, and UPS.

During her time as director of global brand strategy at Netflix, she helped create brands that maintained consistency in different mediums worldwide. That worked is credited with helping the streaming platform drive "global cultural conversation," according to press materials.

“Arts marketing is similar to my work in entertainment at Netflix,” she said, explaining how marketing an organization like the Ballet can be unique. “We weren't just selling a product or a service. The marketing was centered on building meaning, emotion and cultural value. In the arts, brand doesn't just support the mission, it is the mission made visible. At its best, arts marketing invites people into something that matters, amplifying artistic intent.”

As chief marketing officer, Adama will develop integrated marketing campaigns that elevate Houston Ballet locally, nationally, and globally. She will oversee digital, social, content creation, public relations, and brand storytelling, all designed to raise Houston Ballet's profile and make a compelling cultural case for ballet overall.

“I'm eager to dive in,” Sall said. “One of my favorite parts of brand strategy is listening and learning, then translating those insights into a fresh perspective that inspires people to see ballet in a new light. Houston Ballet is a powerhouse, and I can't wait for more people to discover it.”

Sall holds a degree in Cultural Anthropology from Columbia University and is a longtime mentor, educator, and advocate for diversity in the creative industries.

In a press release announcing her appointment the Ballet noted that Sall’s hiring reflects a continued evolution toward a more integrated, future-facing approach to the Ballet’s brand and audience engagement.

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