Here Comes the Sun traces the origins of extractive tourism industries through the works of contemporary artists whose practices examine the interconnections between colonial legacies of crop plantations and service economies in the Caribbean. Gesturing towards the Caribbean’s complicated relationship with the tourism industry, Irene de Andrés and Katherine Kennedy deliver criticisms of international stakeholders and land developers who stand to benefit from the economic, social, and environmental well-being of the region. Countering the intrusive colonial gaze, Joiri Minaya exposes fictitious representations of the landscape and the exoticization of Caribbean women. Ada M. Patterson subverts images of crops to offer a lamentation on the place of sugar and tourism in the Barbadian cultural imaginary.

The works problematize the paradise trope ascribed to the Caribbean by the West and pose questions about its construction: What are the historical foundations of this trope? Why, and for whom, was it built? Together, these works resist the Western gaze, address the shared complicity between tourists, diasporic communities, and land developers, and critique reductive conceptions of the Caribbean as a site of escapism.

The exhibition title is borrowed from Jamaican-born writer Nicole Dennis-Benn’s titular fictional novel. In Here Comes the Sun (2016), Dennis-Benn narrates the lives of three Jamaican women against a backdrop of power dynamics, economics, and gender inequities to advance conversations in the Global North about the complexity of tourism industries