McNay Art Museum New Sculpture

Edra Soto’s ‘Screenhouse’ Finds New Permanent Home at McNay Art Museum

The 10-foot-high gazebo to be installed this summer is the first outdoor sculpture on the McNay grounds by a Latina artist.

McNay Art Museum will introduce a distinct piece of contemporary Puerto Rican design to San Antonio with Edra Soto’s “Screenhouse (2019).” The 10-foot-high modernized gazebo, new to the McNay’s permanent collection, will be installed in late July and is the Museum’s first outdoor sculpture by a Latina artist. Not only will it add a new visual element to the grounds, but it will also serve as a place for visitors to gather.

Foliage that is native to San Antonio and mirrors plants found in Puerto Rico will surround “Screenhouse,” which is constructed from approximately 400 charcoal-hued, 12-inch cast concrete blocks. The work is part of Soto’s “GRAFT” series inspired by rejas and quiebrasoles, decorative concrete blocks and iron grills commonly found in residential neighborhoods across the Caribbean and American South.

“‘Screenhouse’ will be an extraordinary addition to the McNay’s permanent collection, serving as both a striking architectural sculpture and a dynamic gathering space,” said Mia Lopez, curator of Latinx art at the McNay Art Museum. “By introducing these rejas and quiebrasoles to San Antonio, Edra Soto evokes the nostalgia warmth of home for the Carribean diaspora with a broader, vital conversation  about history, culture and public space.”

Edra Soto (b. 1971, Puerto Rico) uses her artistic practice to offer insight into the Caribbean’s central role in American history and the complexity of Puerto Rico’s relationship to the mainland. While much of the symbolism that is prominent in Puerto Rico’s tourism culture has ties to Spanish architecture, the African influence is often overlooked. The Chicago-based artist uses rejas and quiebrasoles, which appeared in post-war architecture in Puerto Rico starting in the 1950s, to give voice to that overlooked history. The architectural elements provide shade and ventilation in the warm climate without compromising privacy and safety. The design motifs can be traced to West Africa’s Yoruba symbols brought to the region by enslaved people.

“My artistic practice encourages viewers to reflect more closely on architectural motifs common in Puerto Rico’s working-class communities and to experience them beyond mere utility and aesthetics,” stated Soto. “Often, Puerto Rico’s status as an unincorporated United States territory renders its history imperceptible. Screenhouse invites visitors to an interactive encounter with Caribbean history, which is part of American history.”

The McNay’s acquisition of “Screenhouse” was made possible in part by funds supporting American art, underscoring the Museum’s commitment to expanding the narrative of American art to include Latinx art. The geometric patterns of Soto’s work interact with the intricate tilework of museum founder Marion Koogler McNay’s residence, replicated throughout the McNay’s exterior spaces. The sculpture’s black, geometric silhouette also creates a striking relationship with Tony Smith’s cubist sculpture “Asteriskos” (1968) nearby.

“The McNay’s grounds are free and open to all during daylight hours, and we look forward to welcoming visitors to experience Edra Soto’s ‘Screenhouse,’” said Matthew McLendon, Ph.D., director and CEO of McNay Art Museum. “We invite our community to move through the sculpture as they explore the grounds, or to pause and take in its intricate design and rich cultural meaning.”

“Screenhouse” is fabricated by Navillus Woodworks. Edra Soto, “Screenhouse,” 2019. Concrete. Museum purchase with the Halff Fund for American Art 2025.11 © Edra Soto