The Museum of Fine Arts (MFA) in Boston faced a wave of mixed reactions after posting images on Instagram of Xandra Ibarra’s partially nude performance, "nude Laughing," which took place in the museum’s galleries on April 16. The piece, part of the MFA’s new exhibition “Take Back the Nude: Subvert, Repair, Reclaim,” explores themes of female nudity, objectification, and erasure in Western art history through multimedia works by 12 contemporary artists.
During the 30-minute performance, Oakland-based Ibarra walked through the museum’s contemporary and European art galleries while laughing and dragging pantyhose stuffed with symbolic objects associated with white femininity, including pearls, a blonde wig, and pointe shoes. The performance concluded with Ibarra placing herself inside the nylon hose, symbolically giving birth to the items.
Despite the event being advertised with a warning about nudity and its unsuitability for all audiences, many museum visitors were caught off guard by the live performance. This surprise led to immediate debate and diverse reactions, both in person and across social media platforms where the MFA shared photos of the event on April 23.
Comments on the MFA’s Instagram ranged from sharp criticism to enthusiastic support. Some followers expressed offense and discomfort, calling the performance vulgar or inappropriate and even threatening to reconsider their museum membership. Others defended the piece, highlighting the cultural disconnect between outrage at a live female nude and the historical celebration of nudity in classical artworks. Several commenters pointed to the performance as a provocation that challenges outdated attitudes toward the female body.
Carmen Hermo, the MFA’s Lorraine and Alan Bressler Curator of Contemporary Art, said the wide-ranging reaction was anticipated. She emphasized that feminist art often brings difficult conversations to the forefront, noting how many artworks once considered scandalous—including those in the Impressionism galleries—are now understood differently through contemporary perspectives. Hermo also highlighted Ibarra’s intentional choice to deliver the performance with joy rather than pain, underscoring the artist’s positionality as a woman of color navigating themes of visibility and power.
“Nude Laughing” has been performed previously at venues such as The Broad in Los Angeles and in San Juan, Puerto Rico, but the Boston presentation drew particular attention for the passionate response it elicited, especially among more conservative viewers.
The decision by Instagram to leave the MFA’s photos online is notable given the platform’s previous removal of images involving nudity. In 2017, the social media site took down photos from an MFA photography exhibition featuring nudes by Imogen Cunningham and Judy Dater, citing violations of community standards. The current tolerance suggests an evolving, though still contested, negotiation of what is considered acceptable representation in digital public forums.
The MFA expressed satisfaction that the performance has sparked dialogue, reflecting its mission to engage audiences in challenging cultural and artistic issues. As Hermo remarked, “People just turned to each other and said, ‘What did I just see?’”—a question that underscores the continuing complexity of how society navigates art, bodies, and identity.