The Haunting of Lin-Manuel Miranda deconstructs the Broadway play’s abolitionist portrayal of the founding father with incisive, impeccably-researched satire.
Gathering hair, indigo, and artifacts from two South Carolina plantations, Adebunmi Gbadebo: A Dilemma of Inheritance considers the materiality of the past.
In a year of perpetual change, Marking Time demonstrates the urgent need for a shift in culture, one where crisis need not be the charge for moving towards a better world.
Using materials both random and familiar, Olivier’s Everything That’s Alive Moves questions our physical, psychic, and material relationship to history.
Then and now, Shange’s work responds to an urgent fever pitch humming beneath the taut surface of pain and respectability. A dazzling revival at the Public Theater reminds us of its timelessness.
After viewing Art and Race Matters: The Career of Robert Colescott — the artist’s most comprehensive retrospective to date — it feels fair to assume that factions of society still aren’t ready for Colescott.
Inside a years-long effort to show a millennium’s worth of art by Native American women.
In artist Chitra Ganesh’s latest exhibition, Protest Fantasies at Gallery Wendi Norris in San Francisco, protest becomes something more than rebellion — it becomes internal.
Often, I consider what people will make of my notebooks after I am dead.