New York—Sarah Zapata’s exhibition “In Escape From the Vices of Idleness,” currently on view at Sargent’s Daughters gallery through October 24, offers a tactile and immersive experience through its hand-woven textile sculptures. Located at 370 Broadway in Manhattan, the show features two architecturally inspired installations draped entirely in colorful, hand-crafted panels that extend beyond their structural bases and onto the gallery floor.

Zapata’s work draws on personal and cultural influences. Her grandmother introduced her to sewing, while her Peruvian heritage—her father is an immigrant whose own father owned a fabric shop—infuses the pieces with broader historical and regional references. The artist also draws inspiration from pre-Columbian textiles and South American weaving techniques, creating a rich dialogue between familial memory and cultural tradition.

The exhibition defies conventional gallery presentation. Instead of art hanging on walls, Zapata arranges her work in a sprawling, vibrant installation that encourages viewers to engage closely with texture and color. The layered textiles range from latch-hooked rugs to finely embroidered fabric strips, arranged in patterns that include stripes and checkerboards, often intersecting in clashing yet harmonious hues. The installation’s forms—reminiscent of city ruins with varied-height columns—contrast natural decay with a profusion of woven material, giving the impression of textile growth rather than traditional organic overgrowth.

Separately, the exhibition features a work by Cara Romero Niro titled “The Iroquois Is a Highly Developed Matriarchal Society” (1991/2026). Niro’s piece consists of photographs embedded in black mat board with hand-drilled abstract designs, pairing text and imagery with a conceptual and often humorous approach. A member of the Turtle Clan of the Kanyen’keha:ka (Mohawk) Nation, Niro centers Native women in her work, employing serialized photography and narrative elements to explore identity and culture. The ethnographic title contrasts with the vibrancy of the visual content, highlighting the conceptual depth of her practice.

The exhibition’s title, “In Her Lifetime,” references one of Niro’s seminal works from 1992, comprising six photographs of her sister alongside a written narrative. This piece traces the transition from childhood’s openness to the monotony of adulthood, addressing existential themes with a nuanced balance of gravity and lightness. Through both artists’ contributions, the exhibition navigates complex cultural narratives while inviting a playful, immersive encounter with textile art and photographic storytelling.