Meet Green Family Foundation Caribbean Cultural Institute (CCI) fellow Noa Battle and learn more about their project, Pendientes II: Photography-Based Study of Kinetic Normativity (2026), which explores accessibility and the experience of moving through Miami’s public spaces.
Batlle’s Pendientes II is part of a body of work that asks who public spaces and cultural institutions are designed to accommodate—and who they leave out.
During their CCI + Women Photographers International Archive (WOPHA) fellowship, Batlle focuses on the visual construction of access in Miami’s urban environment, using a reflective accessibility ramp as a device through which to observe and document the city. Their photographs trace Pendientes II across Miami, bringing it into spaces associated with luxury development, tourism, and financial capital, as well as neighborhoods shaped by Caribbean diasporic communities, including Little Haiti, Little Havana, and Little Santo Domingo.
Pendientes II approaches accessibility not simply as a technical concern, but as a political and cultural condition. Through their work in contexts including Santo Domingo and Miami, Batlle examines how infrastructures of movement are intertwined with histories of migration, labor, inequality, and belonging. The project invites us to consider how cities shape—and sometimes constrain—who is able to move through and inhabit public space.
About Noa Batlle
Noa Batlle is a self-taught artist who lives and works in Santo Domingo. Batlle’s research-based practice centers on experimentation and collaboration in exploring how systems organize access, belonging, and perception. Since 2013, their work has moved between artistic research and structural interventions within public institutions. Through The Interventions (2020–), they have contributed to rethinking accessibility in Dominican public life, including the creation of the first municipal Department of Inclusion and Accessibility and initiatives supporting the country’s most inclusive electoral process in 2024.
Batlle approaches accessibility not as accommodation but rather a critical lens through which to challenge dominant sensory and social orders. Recent work includes La Ocupación (The Occupation), 2026, which they developed with curator José Roca for the Concurso de Arte Eduardo León Jimenes, and an ongoing nationwide collaboration with the Dominican Ministry of Environment and Natural Resources to advance accessibility across the country’s protected areas.
