Author: theterracebc

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In Case You Missed It McMullen Updates

A Sunday at the McMullen

Ambassador Program Feature 2026

While the majority of students at Boston College are recovering from their weekend plans on Sunday at noon, Olaf Minnich (CSOM ‘27, Finance & Business Analytics) can be found clocking in for his shift at the McMullen Museum of Art. On his walk over, Olaf listens to Lake Effect (Darryl Rahn) and Tooth and Claw (Animals as Leaders). A friendly face at the front desk, Olaf spends his Sunday shift working on tasks for the Digital Humanities and Marketing committees, both of which support essential museum functions at the McMullen. 

The atmosphere at the museum, especially on Sundays, varies. Yet, that is what Olaf expresses he likes most about the McMullen: “The atmosphere. Whether it be a rainy or sunny day, the McMullen provides a peaceful escape. At the McMullen, you find yourself surrounded by stories told through beautiful pieces of art, through the architecture, my coworkers, and through the visitors. The Museum is global; people have visited from all over the world, and are able to find themselves represented there.” 

Emily Barnabas (MCAS ‘26, Neuroscience & Medical Humanities) usually arrives a few minutes after Olaf for her noon shift. The soundtrack to her Sunday morning includes Reputation (Ravyn Lenae and Dominic Fike) and Have Fun! (CMAT). 

With a tote bag filled to the brim (usually of homework, snacks, and a Celsius for dance practice later), she sits in the third-floor conference space to prepare for her weekly Publications committee meeting. As a co-lead of Publications, Emily collaborates on the coordination and editing efforts for The Terrace, the museum’s student-run online publication (yes, this very site). Managing digital media content spanning from museum events (In Case You Missed It), community art, style, and controversial works (Problematic Visual Culture), Emily remarks on the exposure to a breadth of opportunity at the McMullen: “My favorite part about working at the McMullen is how you can truly make the experience your own! Whether it is marveling at renowned works by Picasso or Rivera in the permanent collection, spending an evening at Art After Dark, or soaking up the sun on the terrace, the McMullen is the perfect third space at Boston College. The McMullen is more than a campus art museum: it is a place of community connection where creativity, diversity, and culture is celebrated!”

Right before the first docent tour starts, Shania Pinkney (MCAS ‘27, International Studies & Marketing) can be seen walking through the front doors with her headphones on, probably listening to Bleed (Malcom Todd & Omar Apollo) or Stateside (Pink Pantheress). 

Shania, one of the leads of the Marketing committee, collaborates with other student ambassadors to create promotional materials as well as content for the museum’s social media platforms. From highlighting museum events to engaging in outreach to those in the greater Boston area and beyond, the community at the McMullen is one of Shania’s favorite aspects about the museum: “Everyone, from the staff to the security guards, is incredibly kind and welcoming, which makes every shift really enjoyable. I enjoy interacting with visitors and getting the chance to share information about our new exhibits. After visitors finish viewing the exhibits and return to the front desk, I enjoy hearing about their favorite pieces and the perspectives they share on the art.”

You, too, could be spending your Sundays (or any other day of the week!) at the McMullen Museum of Art as part of the Student Ambassador Program. Applications to become a paid 2026–2027 McMullen Student Ambassador are now open through Monday, April 20, 2026. Please follow the link below to complete an application. All majors are encouraged to apply. Applicants must be undergraduate students enrolled at Boston College in fall 2026. Please direct any questions to Rachel Chamberlain (rachel.chamberlain@bc.edu).

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Uncategorized

Reuniting the Eagle and the Condor at the Edge of the Nation-State

By. Chase Gibson ’26

Walls and fencing enclose 675 miles of the roughly 1,954-mile border between the United States and Mexico. The barriers have a complicated history dating back to the early 20th century when the US Bureau of Animal Industry built fencing to control the flow of livestock from crossing. It wasn’t until 1918, when the mayor of Nogales, Mexico, built more fencing to control the flow of people. Nearly 80 years later, the United States government built modern fences near San Diego, California, out of metal sheets from the Vietnam War. More recently, $46.5 billion from the “Big Beautiful Bill” Act (2025) funded the upgrade and construction of more barriers with the goal of covering 1,350 miles, doubling the current enclosure. 

This wall bisects the continent, dividing communities, sacred lands, and families. It is the physical manifestation of political turmoil over the influx of undocumented immigrants from the south—trouble exacerbated by the rhetoric of the Trump administration. While the president continues to push the narrative of undocumented immigrants as violent criminals, invaders, drug mules, parasites on public provisions, employment usurpers, and threats to the American way of life, artists have taken to displaying murals along the existing border wall. These murals depict the struggle of those who come to the US and those who die trying. They are political statements, messages to families, and reflections on the storied history of migration in the New World. 

Donors from the United States funded a 200-foot mural depicting an eagle and a condor flying together over the vast landscape of America. 11 artists collaborated on the project, including 2 Kumeyaay artists from Baja California, to make an homage to an ancient Native American prophecy. The “Eagle and Condor” prophecy represents the diverging paths of humanity: the eagle as industrial and mind-driven and the condor as intuitive and heart-centered. The two split from one another, the eagle to the north and the condor to the south. The eagle conquered the condor, but their eventual reunion is meant to usher in an era of harmony between heart and mind.

Beyond its prophetic meaning, the mural has more immediate implications for the state of international relations as countries around the world struggle to cope with rapid globalization and the movement of peoples fleeing persecution, war, famine, dangers of all kinds, or even simply in search of work. An estimated 5,260 non-Mexican nationals reside on the southern side of the border wall, unable to cross or forced to return. They find themselves in a state of political uncertainty, devoid of formal citizenship, unsupported by the Mexican government, isolated from their homeland, and faced with limited opportunities. Reports indicate that over 8,000 people have died attempting to cross the US-Mexico border between 1998 and 2020. Some estimates raise the death toll to over 10,000. As a result of the pervasive feeling of helplessness and hopelessness, many stuck at Mexican border cities have fallen victim to an opioid epidemic, as fentanyl overdose-related deaths in northwestern Mexico have surged by 600 percent in the past three years. 

In the political debate Stateside, many have touted the Trump administration’s immigration enforcement efforts—appealing to an artificial conception of American national identity or culture, arguing on the basis of homeland security, and accusing the undocumented of “stealing jobs.” Others have been more sympathetic to the plight of these migrants—insisting that these people meet a demand in the labor market, richly contribute to our culture, and pay their fair share in taxes. However, the murals that decorate the border wall make an appeal that speaks to something more universal, a commonality to even the most malicious among us: our humanity. 

The artists of the “Eagle and Condor” mural challenge our conscience as a society and as a collective citizenry. They ask a question that ought to be on the minds of every American: in our campaign for industrial expansion, how did we lose touch with our ideals that transcend petty political differences? In other words, how did the eagle depart from the condor? When did we lose our heart? More importantly, how do we get it back?

We must contemplate such questions in light of the killings of two American citizens and the dehumanization of the most vulnerable members of our society. We should be reminded of the words of former President Barack Obama: “What makes somebody an American is not just blood or birth, but allegiance to our founding principles and the faith that anyone anywhere can write the next great chapter of our country.” We are, after all, a nation conceived in liberty, dedicated to the proposition that all men (and women) are created equal. 

If our ideals stop at our borders or immigration status, are liberty and justice truly for all?

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Culture Check-In

Culture Check-In: Spring

Welcome to Culture Check-In, a recurring column that both tracks what’s trending and documents the patterns shaping the current moment across fashion, design, art, technology, and culture. Every few weeks, I’ll break down what’s “in,” from emerging aesthetics to viral accessories, while also offering a quick, digestible roundup of what’s happening right now, similar to your go-to morning brief. Think of it as both a record of trends and a place to catch up on the cultural conversation as it unfolds.

By: Serenna Sousa ’27

The second it hits 50 and people get even a glimpse of spring, everyone starts acting straight out of a college catalog.

Hoodies are thrown off, spikeball is being played on any free patch of grass, UV levels are suddenly being checked, and half marathon decisions are being made.

Nothing has really changed, but the energy has; and now everything from what we’re wearing to what we’re paying attention to feels slightly different.

What do we even have in store for fashion, tech, art, and everything in between this season?

Keep reading to find out!

Put Together, Kind Of

Sooo we’ve been all rebranding our aesthetics for months now…

And it’s not even subtle anymore. You can see it in what people are wearing; everything feels more intentional, like everyone suddenly has a version of themselves they’re trying to present. Oversized trench, utilitarian pieces, masculine tailoring…like okay, why are we all trying to dress like European casual all of a sudden?

There’s something about it that feels a little…borowed. Like we’re assembling outfits from our situationships. Pieces that aren’t fully ours, but wearing them anyway. Slightly oversized, slightly detached, like we’re trying something on without fully committing to it.

But what’s funny is at the exact same time, we’re leaning just as hard in the opposite direction. Satin, lace, pajama dressing, boudoir everything; like suddenly getting dressed also means looking a little undone, a little softer, a little more intimate.

It’s a weird balance where everything is either structured and put together or intentionally effortless, like you didn’t even try…even though we all know it took you a hot minute to come up with it.

What’s Going on With Tech

And now there’s technology…one of the scariest sectors to even think about right now. It feels like every time you start to understand something, there’s already something newer, faster, and slightly more concerning replacing it. Like we’re all just collectively trying to keep up without questioning enough what we’re keeping up with. 

There’s so much talk around AI verification, trying to prove what’s real online, which somehow makes everything seem less real. And then you have things like Ulta’s AI manicures…which is just the perfect example of all of this.

Instead of picking a color style based on what we actually like, we’re now bringing color theory to our hands…which feels a little excessive. What matches our tone, our vibe, our aesthetic. And it’s supposed to feel personalized, but it almost feels like the opposite.

The more specific it gets, the less it actually feels like a choice.

Honestly, it’s not even that bad, just a little strange. Why are we outsourcing even the smallest decisions about ourselves to ARTIFICIAL intelligence?

And now, microchipping is casually entering the conversation again. Which feels like one of those things that should be a much bigger deal than we’re currently treating it. It’s a little controversial, especially depending on how people interpret it, but somehow still becoming normal. 

Apple of course drops something like the Neo, another sleek, hyper-advanced, budget friendly version of the MacBook which makes it way easier to justify getting one. Same clean look, same feel, just slightly more within reach. Finally, the MacBook has become something people can actually have, not just something some people dream about.

Somehow, the more everything is optimized for us, the less it actually feels like it’s coming from us.

Pop Culture Right Now

We obviously couldn’t forget pop culture…which is somehow struggling with the same thing. Everything is always trying to be everything at once.

Take SYRN, Sydney Sweeney’s new brand, for example. It’s supposed to be all about self-expression, about embracing different sides of yourself. But it ends up feeling a little unclear. Romantic, seductive, playful, effortless…like okay, which one is it?

It’s meant to feel empowering, but still leans so heavily into the male gaze, which kind of contradicts the whole idea. And that’s where it gets a little confusing. It’s trying to say one thing, but visually and stylistically, it’s saying something completely different. It’s trying too hard to be too many things at once, without fully committing to any of them.

The return of things like the America’s Next Top Model documentary on Netflix feels similar. It’s not even about revisiting the show, it’s more like…is Tyra Banks trying to win people back, or is the check inflow just needing a little dusting?

And then, there’s the Oscars, which are supposed to feel like the standard, the final say. You have films like Paul Thomas Anderson’s One Battle After Another dominating with six awards, or Micheal B. Jordan finally winning Best Actor for Sinners, something people have been saying was overdue for a while…at least depending on who you ask.

But even with those big moments, it just doesn’t feel as definitive as it used to. What matters, what gets recognized, all feels like it’s shifting.

What Art Is Turning Into

Art is beginning to feel a little less stable right now. Not necessarily in the work itself, but in what it means and who gets to define it.

With things like Banksy’s identity potentially being revealed, it kind of takes away from what made the work so compelling in the first place. The anonymity was part of it, and once that is taken away, the work starts to feel a little different too.

And with artists like Keith Haring, there’s this conversation around whether his work has been “sanitized” over time, whether something that once felt bold and disruptive is now being softened to fit a different audience. 

The works aren’t even the things that are changing but the way we’re allowed to experience it is. 

And then you have situations like missing Picassos and legal battles over ownership. Where it becomes less about expression and more about control, value, and who gets to claim it. 

It just feels like meaning changes depending on who has control over it.

Maybe that’s just where things are right now. Nothing feels fully set; not style, not meaning, not even what feels real. Everything is sifting, adjusting, being reworked in real time. And instead of having it all figured out, we’re just…kind of going with it.