An artist brought ‘I.C.E. pops’ to a Texas campus. The show was shut down in days

Controversy Erupts as Texas University Closes Artist's Immigration-Themed Exhibition

An artist brought I C E pops - Within just a few days of opening on February 3rd, an art showcase at the University of North Texas found itself abruptly closed to the public. The exhibition featured works by Victor "Marka27" Quiñonez, a visual artist whose creations frequently examine challenges confronting Latino communities throughout the United States. This particular display seemed ideally suited for the Denton campus, located north of Dallas, where approximately one-quarter of the student body identifies as Hispanic.

A Personal Journey Reflected in Art

The presentation centered on Quiñonez's own dual heritage, exploring his identity as someone born in Ciudad Juárez, Mexico, before being raised in East Dallas, Texas. Prior to its Texas debut, the show titled "Ni De Aquí, Ni De Allá — Neither from Here Nor from There" enjoyed considerable success at Boston University in Massachusetts.

Students quickly began reaching out to the artist through social media platforms, informing him that administrators had decided to close the exhibition. The timing was particularly notable given the current political climate surrounding diversity initiatives across American higher education institutions.

The I.C.E. Pops: More Than Just Colorful Sculptures

The exhibition incorporated elements from a collection Quiñonez refers to as "I.C.E. Scream," featuring substantial resin sculptures rendered in vivid hues. The artist explained the inspiration behind these pieces during a recent conversation at his Queens, New York studio.

"They're in the shape of a Mexican paleta, which is a Mexican popsicle that you would see the paleteros pushing around in their little carts," the artist said.

At first appearance, these vibrant creations evoke feelings of childhood nostalgia and playful pop art. However, each sculpture contains something hidden within its translucent exterior—handcuffs, replica guns, and vintage rosaries are among the items encapsulated inside.

The popsicle sticks attached to each piece bear an unexpected message. Rather than the typical whimsical stamp found on children's treats, these sticks display a parody of the official U.S. Immigration and Customs Enforcement seal. The text reads: "U.S. Inhumane and Cruelty Enforcement."

Curatorial Support and Administrative Response

Quiñonez's work has received recognition nationwide, including presentations at The Shed, a prominent cultural center in New York City. Deja Belardo, a curator at The Shed, noted that audiences connect deeply with the artist's storytelling approach.

"We immediately saw the value of Victor's work and being responsive to what was happening around us," Belardo said. "The way he was wanting to tell a story about immigrants and their labor, and all of the work that they do in the shadows."

Despite multiple attempts by NPR to obtain clarification, the University of North Texas declined to provide official comment regarding the exhibition's closure. However, Adam Schrader, an independent arts journalist and founder of Urgent Matter, successfully filed a public records request that revealed internal communications between university leadership.

Text messages obtained by Schrader showed conversations between UNT President Harrison Keller and then-Provost Michael McPherson concerning the show's removal. McPherson, who subsequently left his provost position in May to serve as a senior advisor to Keller, initially considered removing select pieces before deciding to close the entire exhibition.

"I think it'll be easier to manage any barking from our friends in Austin," McPherson wrote in one message.

A Broader National Trend

Schrader observed that this incident at UNT mirrors a growing pattern across American universities. Austin, home to Texas's state legislature, became a focal point for administrators concerned about potential political backlash.

"It comes after a lot of discourse politically around diversity, equity and inclusion at universities and just free speech in general at universities, art displays, at campuses from Florida to Texas and across the nation," Schrader said.

Similar developments have occurred elsewhere. The University of North Carolina's board of governors voted to eliminate the institution's DEI policy in 2024, while Ohio lawmakers introduced legislation aimed at restricting or abolishing diversity initiatives at public universities throughout the state.

Notably, Schrader emphasized that UNT students were not subjected to direct government censorship. No politicians intervened to explicitly prohibit the exhibition from remaining open.

"It's not like they were directly censored," Schrader said of UNT. "There were no politicians that directly came and said, 'You cannot have this show.'"

The federal government has similarly withheld billions of dollars from universities whose diversity and inclusion frameworks fail to align with President Trump's policies. This approach parallels measures adopted by various state legislatures nationwide.

Texas initiated the elimination of DEI programs at state-funded institutions, including the University of North Texas, through a state senate bill passed in 2023. The White House has since followed suit with its own funding restrictions.

Student Perspectives

Jenny Yanez, a UNT student who graduated in May, was among those who contacted Quiñonez to inform him about the exhibition's closure. In an interview conducted shortly before completing her degree, Yanez described noticeable changes within the university's arts department during her final months.

"I feel like everything shifted," she said, noting that conversations about diversity and inclusion became more cautious and politically charged as the semester progressed.

Yanez expressed disappointment that the university chose to close the entire show rather than addressing specific concerns. She believed the decision reflected broader anxieties about maintaining political neutrality amid increasing polarization.

The incident has sparked renewed discussion about the role of art on college campuses and whether institutions are adequately protecting creative expression. Many students and faculty members view the closure as symptomatic of a larger movement toward conformity in higher education.

As Quiñonez continues to create work that challenges viewers to consider immigration, identity, and institutional power, his I.C.E. pops remain a powerful symbol of resistance and remembrance. The controversy surrounding their display at UNT serves as a reminder that art often becomes a battleground for cultural and political values.