Evidence, the inaugural show at Nicola Vassell Gallery, emphasizes Smith’s track record as a photographer who both loves and riffs on the language of her medium.
Aguilar was a rare photographer who never erased herself, shifting the ethics of photographer-subject dynamics.
A prophetic document of our time, the New Museum exhibition calls attention to the weight of Black death not because it is new or salacious but because it remains urgent.
We Wear the Mask treads a fine line between opacity and revealing truth in its rawest form.
The influential collective created a rigorous yet non-hierarchical sphere of influence, which challenges the very tidiness of retrospectives like Working Together.
Chronicling a young writer’s experience in the aftermath of a sexual assault, the series captures the pain, absurdity, and murkiness of rape culture, refusing to ever tie a neat bow.
This is a film that wants to contend with Black grit and intellectualism, to walk the street and sit in the ivory tower. But in failing to acknowledge the nuances of each, it flattens and compounds these different facets of Blackness into nameless characters.
The strength in LaBeija’s Performa debut comes from her ability to use Oskar Shlemmer’s Bauhaus ballet as an outline, while organically combining the talents of people in her community.
After the End offers a selection of works from artists with personal relationships to, and experiences of, socialism in countries such as Angola, Ethiopia, Guinea-Bissau, and Mozambique.
The groundbreaking television show’s second season speaks to the immense power of chosen family.