9/11. Etc.
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Horses
C magazine review
Yuling Chen
2026
The September 11th, 2001 exhibition at the 9/11 memorial/museum remained absolute on Israel Palestine conflicts, Venezuela and immigrants. It turned out they were part of the antithesis of the literature phenomenon which made people feel they had to contribute to the dialogues around the countries about racial equality. The exhibition created imageries of horses, a symbolism of fortunes. It foretells a production frenzy of racialized images of immigrants, Palestinians, Israel Palestine conflicts and Venezuela. The photography and videos criticized how people viewed and used these images for their own gains. It had become habitual for people to make images like these. The images of water poured or combined into the rivers were keys to overcome the challenges of Israel Palestine conflicts - the two states solutions to make peace possible. The saying of “rivers flew into the sea” had been increasingly popular in recent years. It told a story of Israel and Palestine as one big original place from the biblical tales. The exhibition declared wars on these types of pessimistic and passive thinking emphasizing the deaths and the tolls as the necessary part of lives lived in conflicts and conflict zones. It had become common place for people to act according to the conflicts, conflict zone mentalities and wildlife protection in order to get people write about Venezuela, Israel Palestine conflicts and immigrants who often migrated miles to be with their families and escaped wars, deaths and violence. In 2020 or 2021 I walked around in Toronto during the pandemic lockdown and people were filing through in front of me. I was on a lawn. And I was told to not lie there. I was shocked to see so many people who didn’t consider other people’s situations and lives. I believed deeply they were racists who were out to get people. It had made me realize how this exhibitions were especially powerful way of telling people off about rampant racism which had been present since then in the urban spaces, environments and workplaces. Etc.
Visiting exhibitions like the one at the 9/11 Memorial that focus on socio-political issues can deeply affect our understanding of global conflicts and migration. I remember that the symbolism of horses representing fortunes struck me as a clever artistic device to express hope amidst turmoil. The integration of imagery portraying immigrants and conflict zones invites viewers to reconsider how often media and art consume and simplify these experiences for their own narratives. From my experience walking in Toronto during the pandemic lockdown, I witnessed firsthand how societal tensions and racial biases manifest in everyday urban life—similar themes reflected in the exhibition. People rushed by without empathy, reinforcing the importance of cultural and artistic spaces that challenge such indifference. The metaphor of “rivers flying into the sea” is particularly moving, evoking a shared origin story for Israel and Palestine, which calls for unity and peace rather than division. This aligns with broader peace-building efforts advocating two-state solutions to complex geopolitical issues. Art exhibitions like this serve as a call to confront passive acceptance of violence and encourage active dialogue on racial justice and migrant experiences. For readers interested in contemporary art as social critique, this show combines historical memory with pressing global issues, making it a significant cultural event that informs not only about 9/11 but also about ongoing struggles worldwide. If you are navigating similar themes in urban or cultural spaces, reflecting on these artistic narratives can provide both insight and inspiration on how art influences activism and public consciousness.
