Events

Rules Are Not Neutral: Play As Sense-Making, Acts Of Resistance, And Imagining Otherwise
2026-06-06 12:00 - 17:00 (America/Los_Angeles) | Eloise Pickard Smith Gallery, 11 Cowell Service Rd, Santa Cruz, CA, 95064
This exhibition brings together a range of analog games – including board, card, role-playing, and other participatory works – that engage social and political realities in different ways. The works span widely circulated commercial games to independently produced projects, one-of-a-kind artworks by artists, faculty, alumni, and students, and materials drawn from UC Santa Cruz Special Collections and Archives.
In part, the exhibition challenges the persistent assumption that games and play are detached from social and political life. On the contrary, game designers and artists across diverse perspectives and positions have long used play to engage questions of social systems, lived experience, and how power operates. This exhibition does not attempt to represent that full spectrum. Instead, it brings together a particular set of works that foreground how games can make systems visible, intervene in them, and imagine alternatives.
All games embody values, whether intentional or not.
– Mary Flanagan, game designer and scholar
Across all of these works, games are not only forms of entertainment, though they may be that as well. They are encountered in multiple ways: as objects, as systems, as artworks, and as experiences that unfold unpredictably through interaction. In each case, rules and constraints shape what participants can do. In these different forms, the works stage systems – such as housing and land ownership, capitalism, race and identity, civil rights and protest, fascism, and colonialism – in ways that are simplified and easy to see, opening space to recognize similar structures beyond the game. In this sense, the works suggest that rules are not neutral – they organize experience, distribute power, and produce meaning.
Games are the art of agency.
– C. Thi Nguyen, philosopher
The exhibition is intentionally dense. This abundance reflects the breadth of ways games operate across contexts, from activism and education to art and everyday life. While it celebrates creativity and difference, it also asks how these works engage critically with the structures that shape our lives.
Some works use rules to model systems, helping players understand how those systems operate. Others use play to rehearse action, asking players to practice navigating or challenging those systems. Still others turn toward speculation, inviting players to imagine alternative futures, worlds, and the systems that might shape them.
The imagination is an instrument of change.
– Ursula K. Le Guin, author
The focus on analog games reflects how they foreground materiality and shared physical presence. Played face-to-face, handled, read aloud, and experienced together, these works show how rules operate not in abstraction, but through lived, embodied experience.
Ultimately, the exhibition asks us to consider not only how games represent the world, but how they shape our engagement with it – and how through play, the social and political systems they model might be understood, challenged, and reimagined.
Games are not apolitical.
– Kishonna L. Gray, media scholar

Gallery Reception
May 15 from 1 to 4pm at the Eloise Pickard Smith Gallery

Art Friday
Hands-on art activities drawing from the current exhibition.
ALL ARE WELCOME regardless of skill level. Art supplies and free snacks are provided!

Spring Exhibitions at the Institute of the Arts and Sciences
2026-06-07 12:00 - 17:00, 2026-06-10 12:00 - 17:00, 2026-06-11 12:00 - 17:00, 2026-06-12 12:00 - 17:00, 2026-06-13 12:00 - 17:00, 2026-06-14 12:00 - 17:00, 2026-06-17 12:00 - 17:00, 2026-06-18 12:00 - 17:00 and 8 more dates | Institute of the Arts and Sciences, 100 Panetta Ave, Santa Cruz, United States
Visit the IAS, UCSC’s premier art galleries, for our spring exhibitions. On view April 10–August 16, 2026 are three diverse and interdisciplinary shows: Libia Posada: Everything is Going Right, the first US solo exhibition by the Colombia-based artist and medical doctor; Gina Athena Ulysse: A Redwoods Rasanblaj, a site-specific and immersive exploration of the Haitian kreyol conception of rasanblaj; and Ronaldo V. Wilson: There Are No Words, But Melodies, a mixed-media exhibition emerging at the intersections of Black poetics, performance, and visual art.
The IAS Galleries are open Wednesday-Sunday, 12 pm – 5 pm. Admission is free to the public.
Libia Posada: Everything is Going Right
Libia Posada’s first solo exhibition in the United States features installations, sculptures, and drawings meticulously constructed from surgical instruments, gauze bandages, crutches, used books, and domestic picture frames. The new and existing works in the exhibition powerfully stitch together the personal, social, and political disorders and afflictions that currently trouble the world, from the wars that resonate across the globe to the violences of aging in US prisons.
Gina Athena Ulysse: A Redwoods Rasanblaj: Origins & Disentanglements
The internationally-lauded work of humanities professor Gina Athena Ulysse is on view as a premier Faculty Spotlight Exhibition. The site-specific installation, produced in community from things collected, found, purchased and donated, centers on the Haitian concept of rasanblaj, a form of assembly and collage that transcends the formal use of materials to draw together people, spirits, and ideas.
Ronaldo V. Wilson: There Are No Words, But Melodies
Collage is both a material practice and a structural interrogation in the Faculty Spotlight Exhibition artworks by literature professor Ronaldo V. Wilson. In video, painting, and installation, layers and folds conceal and reveal, delving into the experience, both bodily and emotive, of living in times of violence.

Visualizing Abolition Screening Series: Beyond Access
2026-06-07 12:00 - 17:00, 2026-06-10 12:00 - 17:00, 2026-06-11 12:00 - 17:00, 2026-06-13 12:00 - 17:00, 2026-06-14 12:00 - 17:00, 2026-06-17 12:00 - 17:00, 2026-06-18 12:00 - 17:00, 2026-06-20 12:00 - 17:00 and 5 more dates | Institute of the Arts and Sciences, 100 Panetta Ave, Santa Cruz, United States
On view in the IAS Screening Room is a selection of short films curated by Visualizing Abolition Visiting Faculty Fellow Dr. Pooja Rangan.
Prisons deny and censor the access of those trapped inside them—to information, to intimacy, to community, to meaningful work, to nourishment of all kinds, and perhaps most cruelly, to care. This program assembles a series of films, including works by filmmakers incarcerated in California as well as others without that lived experience. Together, these works confront the debilitating impacts of these restrictions and reveal how the disabling logic of the prison is extended to other institutional spaces (the hospital, the university), turning access into a scarce commodity by enclosing what should be held in common. Questioning the carceral and state-sponsored productions of disability and accessibility, the short films together reveal the courage of people working despite limitations to produce collective access for one another, described simply and beautifully by disability justice activist Leah-Lakshmi Piepzna Samarasinha as “revolutionary love without charity.”
Thanh Tran
Dying in Prison, 2022
HD Video (color, sound), 3 minutes
Courtesy of the artist
Carolyn Lazard
Pre-Existing Condition, 2019
HD video (color, sound), 6 minutes
Courtesy of the artist and Trautwein Herleth3
Anthony Alejandrez
Another Rainy Day, 2023
Phone video (color, sound), 3 minutes
Courtesy of the artist
Jordan Lord
After…After… (Access), 2018
HD Video (color, sound), 16 minutes
Courtesy of the artist
Rahsaan “New York” Thomas
Friendly Signs, 2023
Video (color, sound) 21 minutes
Courtesy of Tommy Wickerd, Empowerment Ave & System Impact Media
