A multi-layered three-channel video installation that employs elements of all these projects—a mélange of HD video, 16MM woman on the street interviews, analog animation mixes juxtaposed with archival performance footage of Nina Simone and other Black female figures—The Giverny Suite is a dynamic cinematic poem that has seemingly found much contemporary lift and exposure thanks to its residency at MoMA.

The New York Times’ T Magazine, New York's The Cut, Essence, Harper Bazaar, I-D and Art Forum have all waxed effusively about this contemporary reflection on the safety and physical integrity of Black womanhood.

“Black women’s distinct positionality in society necessitates a sharp and critical lens,” she wrote in Art Forum. “Black women find ourselves at the vanguard whether or not that is our preferred position.” Space, autonomy and liberation are themes not just explored in her work but in her overall philosophy. “It can be a liberatory act; it can be an act of transformation,” she explained to I-D.

Earlier in her career, she thought acting would be her vocation. In the same interview, she explained how shifting to studying at SVA’s MFA Social Documentary was vital in helping her discover her own creative voice and independence.

“That switch from actor to documentary filmmaker was about autonomy,” she told the magazine. “I wanted to be in charge of directing the story, creating the narrative. It was very much about snatching that bag.”

Gary shows no signs of slowing down and recently premiered her new film, Quiet As It’s Kept (2023), as a “cinematic response” to Toni Morrison’s The Bluest Eye and an exploration of intimacy between Black women.

And who knows, maybe Monet’s discrete ecosystem could yield even more Giverny-based inspirations. “I’m really excited to return to the garden and see what it brings,” she said.

‘The New York Times,’ ‘New York’ and more have covered the SVA alumnus’s multimedia installation, now on view at MoMA.