Tomorrow is the Problem: A Podcast by Knight Foundation Art + Research Center at the Institute of Contemporary Art, Miami

Etel Adnan's Mount Tam is framed as more than a landmark. It becomes a lens for return, attention, and the way a single image can keep its hold across decades.

This episode moves through the slippery boundary between Lucy Bull's paintings, psychedelic countercultures, and intellectual work, keeping altered perception at the center.

This episode begins with Herve Tellemach's 1962 untitled The Ugly American, using a battlefield image with Toussaint Louverture and Fidel Castro to frame the Haitian Revolution.

Sirene is presented as a 1959 work where abstraction, language, and Haitian voodoo meet in a single charged surface. Blue and black paint recall the abstract expressionist mood of the Art Students League in New York, where Herve Talamac was studying, while the French title opens…

The episode folds a Hialeah dispute into a broader argument about Santeria, public power, and the line artists draw between ritual and art. It begins with the Church of Lukumi Babalu'ai and Ernesto Pichardo, then moves through the city council's decision to ban ritual animal…

Betye Saar's work is presented as ritual made visible, beginning with the Watts Towers and a young Betty Saar learning how discarded objects can be lifted into reverence.

This episode looks at Stanley Brown, an artist who pushed back against the usual machinery of art-world explanation. He avoided interviews, kept his personal life out of view, limited photographs and reproduction, and did not want his work publicly interpreted.

From a Paris ballroom in 1737 and an automaton flute player, the episode sets up a plain but interesting question: when does imitation start to feel alive?