More than two years in the making, “Road to Hybridabad” marks the culmination of an interwoven narrative that Detroit-based artist Osman Khan has been building for his entire life. Drawing on literary classics like One Thousand and One Nights and Waiting for Godot, the exhibition (currently on view at MASS MoCA) employs ordinary, familiar objects—telephone poles, a pickup truck, a coin-operated ride, furniture, and even breakfast cereals—to spin a new, fantastical tale brimming with immersive details that marry various folkloric traditions with contemporary technology. With help from an AI storyteller, narrative war rugs, a border djinn, and caged flying carpets, “Road to Hybridabad” offers a masterclass in visual storytelling, using magical effects, beauty, and humor to frame the complex and politically fraught terrain of immigration. Beneath the fantasy, Khan’s work captures the existential quandaries—the frustration, boredom, fear, wonder, and hope—faced by immigrants as they follow their path to “the land of milk and honey.”
Lauren Levato Coyne: “Road to Hybridabad” is a massive exhibition, both materially and in terms of space. It is also one of the richest and most thoughtful shows that I’ve seen in quite a long time. What is the backstory, and how did it develop?
Osman Khan: I first met and collaborated with the curator, Alexandra Foradas, when she commissioned a piece for her group show “Kissing through a Curtain” (MASS MoCA, 2020–22). We developed a strong sense of mutual respect and admiration during that project. Almost three years ago, she invited me to explore the idea of a solo exhibition at MASS MoCA. . .
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