The 110 invited participants of this exhibition – among them, individual artists, collaborative duos, collectives, and artist-led organisations – hail from many geographies and regions selected by Koyo with particular attention to resonances, affinity, and and possible convergences between practices, even when far apart. In looking to artists working in Salvador, Dakar, San Juan, Beirut, Paris, or Nashville, for example, Koyo sought to envision how their ingenuity, breadth of material experimentation, and visionary ideas bear connections to other artists and movements in simultaneity. In this spirit, In Minor Keys expands upon Koyo’s relational geography of encounters with artists over her lifetime.

Koyo saw several conceptual motifs guiding the exhibition. These were not abstractly determined but rather sifted from a reservoir of art that acts deeply on the soul and mind. They brought into focus a compositional method for the exhibition, which is not organised according to sections but rather in respect of undercurrent priorities. Among these are “Shrines” – in which prominence is given to the practices of two lodestar artists while exceeding a retrospective impulse; processional assemblies; enchantment in the face of cynicismabout what art can do; spiritual and physical rest opened up by the oases – the keys or small islands of artists’ universes; and finally, Koyo’s commitment to artist-centred institution building or “Schools”, in which energy and resource is directed towards a social purpose.