In the Soloviev Foundation exhibition Between Distance and Desire: African Diasporic Perspectives, curator Tumelo Mosaka asks us to reconsider these structures so that we might know the vastness of African art in the current social, global, and political context.

In Lover’s Knot, Anne Buckwalter reminds us that although there is no place like home, that feeling of bliss often co-exists with complexities, ambiguities, and ambivalences.

The Messenger does not feel like a standard retrospective, although it is mostly presented like one. But here, chronology takes on new meaning, as it allows us to make connections that reveal how Whitten’s ideas developed, blooming from one foundational form and shifting into another. 

In his first major New York museum exhibition, Ralph Lemon makes an offering of more than sixty works spanning film and video, performance, drawing, installation, text, and sculpture that reveal the depth of a practice rooted in resisting convention. Even after disbanding his dance company thirty years ago, and then going on to create work that traverses and transcends geographies and genres, Lemon continues to poke and push at notions of what it means to make meaning through art.

Pope.L sits on his haunches alongside a building over the course of a few very hot and humid days in July. He is a curious sight—an unambiguously Black man with two jars and plastic spoons set before him. “Warm mayo?” he asks the passerby. “One hundred dollars a dollop,” he adds.