Artist Zoe Buckman’s powerful exhibition “Who By Fire,” which delves into Jewish identity through intimate embroidered portraits, is now on display at the Mindy Solomon Gallery in Miami. This solo show marks a defiant response after her former London gallery indefinitely canceled it over concerns about potential hostility, underscoring ongoing issues of censorship and antisemitism in the art world.
The exhibition, titled after Leonard Cohen’s haunting adaptation of a Yom Kippur prayer, features a series of portraits created on repurposed vintage textiles. Buckman uses acrylic painting and hand embroidery to depict family members and friends, including “Girls” star Jemima Kirke, in domestic settings that explore themes of belonging, safety, and resilience. By focusing on Jewish community and intergenerational memory, the artist transforms traditionally feminized craft into a political statement, challenging stereotypes and asserting visibility.
Buckman revealed that her London gallery postponed the show “indefinitely” earlier this year, citing fears that its focus on Jewish identity might spark antisemitic backlash. In an interview, she expressed disappointment but resilience, stating that the cancellation reflects broader efforts to censor Jewish narratives in creative fields. This move has sparked conversations about artistic freedom and the marginalization of Jewish voices, particularly amid rising global antisemitism following the Gaza war.
The Miami exhibition, which opened during Art Basel Miami Beach, runs through January 10, 2026, at the Mindy Solomon Gallery. Buckman’s work has gained attention for its emotional depth, with pieces appearing in prestigious institutions like the National Portrait Gallery in London and SFMoMA this year. Her practice, which began in photography, now centers on textile art as a means to process grief, trauma, and joy, sewing personal and collective memories into each stitch.
Through her art, Buckman addresses not only Jewish identity but also gender disparities and domestic violence. For instance, one piece in the show, “crows on the tracks,” includes embroidered text that alludes to Holocaust denial and the gaslighting of antisemitic experiences. She emphasizes the importance of preserving these stories, using materials like bed sheets and tablecloths that carry their own histories, thus layering past and present narratives.
The artist’s approach combines introspection with radical presence, allowing imperfections and visible labor in the embroidery to symbolize human fragility and strength. Buckman notes that her work aims to make people feel seen, countering erasure by affirming the humanity and creativity of her community. This exhibition, therefore, serves as both a personal reclaiming of space and a public stand against cultural boycotts.
Looking ahead, Buckman’s video work “Show Me Your Bruises, Then,” exploring intimate violence, will be featured at the Perez Museum in Miami next year. Her continued collaboration with non-Jewish curators and institutions highlights a commitment to dialogue and inclusion, even as she navigates challenges within the art world. The Miami show has been well-received, drawing attention to the resilience of Jewish artists and the power of art to foster empathy and understanding.
In summary, Zoe Buckman’s “Who By Fire” not only showcases her technical skill and emotional storytelling but also sparks crucial discussions about identity, censorship, and community in contemporary society. By bringing this exhibition to Miami after its London cancellation, she underscores the enduring presence and creativity of Jewish artists, inviting audiences to engage with narratives of survival and joy.
