AT A TIME WHEN NEW YORK CITY galleries and museums had little interest in African American artists, Linda Goode Bryant established Just Above Midtown, a gallery and communal space that served as both sanctuary and experimental platform for artists of color. Half a century after its founding in 1974, Just Above Midtown is now the subject of one of the most anticipated exhibitions of the fall season. Opening Oct. 9, “Just Above Midtown: Changing Spaces” at the Museum of Modern Art in New York leads an impressive line up of exhibitions dedicated to Black artists and Black themes opening this fall at art museums and nonprofit art spaces across the United States and Canada.

The Pulitzer Art Foundation is presenting a full scale-retrospective of sculptor Barbara Chase-Riboud. Black potters active in 19th century Old Edgefield, S.C., are the focus of a must-see survey at the Metropolitan Museum of Art. In Toronto, “As We Rise: Photography From the Black Atlantic” showcases images by artists from Canada, the Caribbean, Great Britain, and the United States. Next month, the grand opening of the Orange County Museum of Art features an inaugural exhibition dedicated to Fred Eversley, a pioneer of Southern California’s Light and Space movement.

Fall 2022 highlights also include major new surveys of Henry Taylor in Los Angeles, Suzanne Jackson in Chicago, Frank Bowling in Boston, Theaster Gates in New York, and designer Stephen Burks in Atlanta. Important traveling exhibitions are on the move, too, including a retrospective of Nick Cave arriving at the Solomon R. Guggenheim Museum in New York and the international sensation “Afro-Atlantic Histories” opening at the Los Angeles County Museum of Art. A selection of more than 50 museum exhibitions follows (ordered by opening date):

 

Sponsored by UBS, a global financial services and investment banking firm. With a deep commitment to the art community, UBS is a lead partner in Art Basel and co-presenter of the Global Art Market Report. UBS actively supports contemporary artists through its foundation, corporate art collection and art gallery located in the lobby of its New York headquarters.

 
SEPTEMBER
 


WILLIAM H. JOHNSON, “Marian Anderson,” circa 1945 (oil on paperboard). | Smithsonian American Art Museum, Gift of Harmon Foundation, 1967.59.657

 
Fighters for Freedom: William H. Johnson, Picturing Justice @ Albany Museum of Art in Albany, Ga. | Sept. 1-Dec. 10, 2022

Drawn from the collection of the Smithsonian American Art Museum, this traveling exhibition presents two centuries of history and the struggle for racial justice through more than two dozen paintings made by William H. Johnson (1901–1970) in the mid-1940s. Johnson “infuses history with art throughout these works, using symbols, flags, and a storyboard-like approach to create realistic depictions of this cast of freedom fighters.”

 


VANESSA GERMAN (American, b. 1976), “WE HONOR THE CYCLE OF CYCLE,” 2022 (mixed media assemblage, 27 x 21 x 13.5 inches). | Collection of artist, Courtesy Kasmin, New York. Photo by Laura Shea

 
Vanessa German: The Rarest Black Woman on the Planet Earth, Mount Holyoke College Art Museum, South Hadley, Mass. | Sept. 2, 2022-May 28, 2023

After immersing herself in the nearly 7,000 early 20th century objects housed in Mount Holyoke’s Joseph Allen Skinner collection, vanessa german asked, “How do we decolonize a thing, a museum, a collection?” She invited the college community to participate in the project, a retelling of the museum’s story. Pittsburgh, Pa.-based german incorporated the countless anonymous written responses and personal belongings she received into a new body of work exploring the theme of emancipation. More than a dozen power figure sculptures and assemblage works are on view. German is giving an artist talk on Oct. 13.

 


NELLIE MAE ROWE (American, 1900–1982), “What It Is,” 1978–82 (crayon, colored pencil, pencil on paper, 21 × 21 1/4 inches / 53.3 × 54 cm). | High Museum of Art, Gift of Judith Alexander, 2003.215. © 2022 Estate of Nellie Mae Rowe/Artists Rights Society (ARS), New York. Photo: © High Museum of Art, Atlanta

 
Really Free: The Radical Art of Nellie Mae Rowe @ Brooklyn Museum in Brooklyn, N.Y. | Sept. 2, 2022–Jan. 1, 2023

Nellie Mae Rowe (1900–1982) decorated her Vinings, Ga., home with drawings, handmade dolls, found-object sculptures and installations. A rare look at Rowe’s expressive production, this exhibition presents more than 100 works made during the last 15 years of her life. A fully illustrated catalog documents the traveling exhibition organized by the High Museum of Art in Atlanta.

 


TOYIN OJIH ODUTOLA, “Your Face is a Love Letter (Adeseun), 2021-22 (pastel, charcoal, and graphite). | © Toyin Ojih Odutola. Courtesy the artist and Jack Shainman Gallery, New YorK

 
New Work: Toyin Ojih Odutola @ San Francisco Museum of Modern Art in San Francisco, Calif. | Sept. 3, 2022–Jan. 22, 2023

Recognized for narrative drawings that “use distinctively layered mark-making to highlight topographies of skin and surface,” Nigerian-born, Alabama-raised artist Toyin Ojih Odutola lives and works in New York City. This exhibition features 21 new pastel, charcoal, and graphite works inspired by the speculative fiction of author Octavia Butler and the verse of former Canadian Poet Laureate Dionne Brand.

 


TEXAS ISAIAH, “My Name Is My Name I,” 2016 (giclée print on archival paper). | From As We Rise: Photography from the Black Atlantic (Aperture, 2021). © Texas Isaiah

 
As We Rise: Photography From the Black Atlantic @ Art Museum at the University of Toronto, Art Centre in University College, Toronto, Ontario, Canada. | Sept. 7-Nov. 19, 2022

Over the past 25 years, Toronto dentist Dr. Kenneth Montague has built an incredible photography-based collection that visualizes what Black life looks like on both sides of the Atlantic. Showcasing his Wedge Collection, “As We Rise” features more than 70 Black artists from Canada, the Caribbean, Great Britain, the United States, South America, and the African continent who work across fine art, portrait, documentary, and street photography. Organized by Aperture and documented by a fully illustrated catalog, the international touring exhibition travels next to The Polygon Gallery in North Vancouver, before arriving in the United States at the Peabody Essex Museum in Salem, Mass.

 


Unrecorded potter, attributed to Miles Mill Pottery (1867–85). Old Edgefield District, South Carolina. Face jug, 1867–85. Alkaline-glazed stoneware with kaolin, H. 8 in. (20.3 cm). Hudgins Family Collection, New York

 
Hear Me Now: The Black Potters of Old Edgefield, South Carolina @ Metropolitan Museum of Art, New York, N.Y. | Sept. 9, 2022-Feb. 5, 2023

In the decades before the Civil War, the Old Edgefield, S.C., was a center of stoneware production. This exhibition brings to light the talent, work, and creativity of Black artists—free and enslaved—whose contributions are critical to the storied history of the pottery district. About 50 ceramic works are presented, including jugs, storage pots, and face vessels by unknown makers and celebrated potter and poet David Drake (circa 1800-circa 1870s). A fully illustrated catalog documents the exhibition, which travels to the Museum of Fine Arts Boston in March 2023. Out front, “Gilt,” four sculptures by Hew Locke commissioned for The Met’s historic facade, is on display.

 


STAN DOUGLAS, “Vancouver, 15 June 2011,” 2021. | CourtesY the artist, Victoria Miro, London and Venice, and David Zwirner, New York, London, Paris and Hong Kong

 
Stan Douglas: 2011 ≠ 1848 @ The Polygon, North Vancouver, Canada. | Sept. 9–Nov. 6, 2022

Stan Douglas is the first Black artist to represent Canada with a solo show at the Venice Biennale. “Stan Douglas: 2011 ≠ 1848” is the Canadian premiere of the Venice show, which will also travel to Remai Modern and National Gallery of Canada. A two-channel installation and five large-scale panoramic photographs are featured. In the images, “Douglas connects points of social rupture, rendering in minute detail and with technical ingenuity historic moments of protest, riot, and occupation from 2011 that echoed upheavals that swept Europe in 1848.” Coinciding with this exhibition, the photographer, installation artist, and filmmaker is presenting Stan Douglas: Allegories of the Present at Griffin Art Projects in North Vancouver (Sept. 9-Dec. 11, 2022).

 


MOSHOOD OLÚSOMO BÁMIGBÓYE Kájọlà, Kwara State, Nigeria, circa 1885–1975), “Equestrian Shrine Figure (Ojúbọ Ẹlẹ́ṣin) Depicting a Priestess of Ọya,” 1920-40 (Possibly ire (rubber tree) and pigment, 29 1/8 × 14 inches / 74 × 35.5 cm). | Charles B. Benenson, B.A. 1933, Collection 2006.51.86. Photo: Yale University Art Gallery © Estate of Moshood Olusomo Bámigbóyé

 
Bámigbóyè: A Master Sculptor of the Yorùbá Tradition @ Yale University Art Gallery, New Haven, Conn. | Sept. 9, 2022–Jan. 8, 2023

Spanning his 50-year career, this exhibition is the first dedicated to the workshop of Nigerian artist Moshood Olúṣọmọ Bámigbóyè (1885–1975). A renowned woodcarver, his early 20th century ceremonial masks are “considered some of the most spectacular and complex works of Yorùbá art ever created.” More than 30 works by Bámigbóyè are on view, masks and sculptures sourced from collections in the United States, Europe, and Nigeria, including the Yale University Art Gallery and the National Museum in Lagos, Nigeria. The first monograph dedicated to Bámigbóyè’s career was published to accompany the show.

 


GARRETT BRADLEY, “America (still),” 2019 (multi-channel video installation; 35mm film transferred to video: black and white, sound, 23:55 minutes). | Image and work courtesy the artist and Lisson Gallery

 
Garrett Bradley: American Rhapsody @ Museum of Contemporary Art, Los Angeles in Los Angeles, Calif. | Sept. 10, 2022-Feb. 19, 2023

An artist and Oscar-nominated filmmaker (“Time” for Best Documentary Feature, 2021), Garrett Bradley’s narrative, experimental, and documentary projects explore “race, class, familial relationships, social justice, southern culture, and the history of film in the United States.” Recent single and multi-channel films and videos, including America (2019) are featured in this presentation. Organized by Contemporary Arts Museum Houston, this is the first solo museum exhibition of Bradley, who splits her time between Los Angeles and New Orleans.

 


DOMINIC CHAMBERS, “Dark Skin of a Summer Shade,” 2019 (oil on canvas, 63.3 x 72 inches). | Courtesy of the Scantland Collection

 
Dominic Chambers: What Makes the Earth Shake @ Tephra Institute of Contemporary Art, Reston, Va. | Sept. 10-Nov. 20, 2022

Employing color field theory and elements of abstraction, figurative paintings by Dominic Chambers “highlight the surreal conditions pervading Black life.” His first solo exhibition in the Washington, D.C., region takes its title from James Baldwin’s 1962 Letter to My Nephew. On loan from private collectors and the artist’s own holdings, nine large-scale paintings made between 2019 and 2022 are on view. Born in Saint Louis, Mo., Chambers lives and works in New Haven, Conn.

 


SUZANNE JACKSON, “Garnet Zagbite,” 2016 (acrylic on layered acrylic, Garnet medium,
and mixed papers, 36 x 57 inches). | © Suzanne Jackson, Courtesy the artist and Arts Club of Chicago

 
Suzanne Jackson: Listen’ N Home @ Arts Club of Chicago in Chicago, Ill. | Sept. 14-Dec. 23, 2022

Active since the 1960s, Suzanne Jackson’s most recent work has shifted visually, becoming “more abstract, three-dimensional, and environmental.” The exhibition features a new monumental installation and a selection of paintings made over the past 25 years, including innovative “partially transparent works [that] suspend color, light, material, and form in mid-air, literally removing painting from the constraints of the support.” The founder of Gallery 32, the legendary artist-run space in Los Angeles (1969-70), Jackson is currently based in Savannah, Ga.

 


EL FRANCO LEE II, “DJ Screw in Heaven 2,” 2016 (acrylic on black canvas with cassette tape, 60 x 60 x 1 inches). | © El Franco Lee II, Courtesy of the artist

 
Dirty South: Contemporary Art, Material Culture, and the Sonic Impulse @ Museum of Contemporary Art Denver in Denver, Colo. | Sept. 16, 2022-Feb. 5, 2023

Considering the aesthetics of Southern expression in 20th century Black culture, this exhibition explores intrinsic parallels between visual art and musical traditions, beginning with jazz in the 1920s through more recent trends in hip hop, along the way considering “frameworks of landscape, religion, and the Black body.” Organized by Valerie Cassel Oliver at the Virginia Museum of Fine Arts, the traveling exhibition spans paintings, sculpture, and installation; music and sound; and material culture and ephemera. More than 100 artists, both academically trained and often marginalized, self-taught figures are featured, including Sanford Biggers, Beverly Buchanan, Nick Cave, Thornton Dial, William Edmundson, Arthur Jafa, Kerry James Marshall, Jason Moran, Sister Gertrude Morgan, Ramell Ross, Alma Thomas, Bill Traylor, Kara Walker, and Nari Ward.

 


DEBORAH ROBERTS (American, b. 1962), “The duty of disobedience,” 2020 (mixed media collage on canvas, 72 x 100 inches). | Artwork © Deborah Roberts. Courtesy the artist; Vielmetter Los Angeles; and Stephen Friedman Gallery, London. Image courtesy The Contemporary Austin. Photograph by Paul Bardagjy

 
Deborah Roberts: I’m @ Cummer Museum of Art & Gardens, Jacksonville, Fla. | Sept. 16-Dec. 4, 2022

A selection of new mixed-media collage paintings and works on paper by Deborah Roberts explores issues of beauty, masculinity, race and the Black body. The artist’s subjects are children whose fragmented portraits speak to their complex identities and tenuous innocence. The works were made in 2019 and 2020, during the isolation of the COVID-19 pandemic. This traveling survey of Austin, Texas-based Roberts was organized by The Contemporary Austin, the artist’s hometown museum.

 


BARBARA CHASE-RIBOUD, “All That Rises Must Converge/Red,” 2008 (bronze, silk, cotton, and synthetic fibers, 74 1/2 x 42 x 28 inches / 189.2 x 106.7 x 72.1). Collection of Roger Ford and Caroline Ford. Photo courtesy of Noel Art Liaison, Inc. © Barbara Chase-Riboud

 
Barbara Chase-Riboud Monumentale: The Bronzes @ Pulitzer Arts Foundation, Saint Louis, Mo. | Sept. 16, 2022–Feb 5, 2023

Barbara Chase-Riboud explores form, memory, material, and scale, monumentalizing Black cultural icons. The first retrospective of the Philadelphia-born, Paris-based artist in 40 years is also the largest-ever monographic exhibition of her work. On view are about 50 grand conceptual sculptures, 20 works on paper, and a selection of poetry, spanning the 1950s to present. This presentation coincides with a solo exhibition of Chase-Riboud at Serpentine Galleries in London.

 


MORGAN AND MARVIN SMITH, “Untitled (Marvin and Morgan Smith and Sarah Lou Harris Carter),” 1940 (gelatin silver print, 8 x 10 inches). | Schomburg Center for Research in Black Culture, New York Public Library. © Morgan and Marvin Smith

 
Called to the Camera: Black American Studio Photographers @ New Orleans Museum of Art in New Orleans, La. | Sept. 16, 2022-Jan. 8, 2023

Focusing on the artistry, entrepreneurship, and social significance of African American studio photographers, this exhibition presents more than 250 images by more than two dozen photographers active in the 19th and 20th centuries, including James Presley Ball, Arthur P. Bedou, Florestine Perrault Collins, Gordon Parks, Addison Scurlock, James Van Der Zee, and Morgan and Marvin Smith.

 


Installation view of “Stephen Burks Shelter in Place,” High Museum of Art, Atlanta, Ga. | Photo by Mike Jensen, Courtesy High Museum of Art

 
Stephen Burks: Shelter in Place @ High Museum of Art, Atlanta, Ga. | Sept. 16, 2022-March 5, 2023

The first African American to win the National Design Award for product design (2015), Brooklyn, N.Y.-based Stephen Burks has collaborated with a spectrum of artisans and industrial designers. This exhibition presents a series of international projects made over the past 10 years and “explores ideas concerning domesticity—namely asking how we can design our interiors to enable joyful living while empowering creativity.” A fully illustrated catalog published to document the exhibition is available now at the museum and more widely in late November.

 


SABLE ELYSE SMITH, “Landscape V,”2020 (neon, 80 × 198 × 8 inches / 203.2 × 502.9 × 20.3 cm). | Courtesy the artist, JTT, New York and Carlos/Ishikawa, London

 
Marking Time: Art in the Age of Mass Incarceration @ David Winton Bell Gallery, Brown University, Providence, R.I. | Sept. 16-Dec. 18, 2022

Making a profound statement in the worlds of art and criminal justice, this exhibition explores the prominence of incarceration in contemporary art and culture, presenting works by more than 30 artists in U.S. prisons alongside contributions by non-incarcerated artists “concerned with state repression, erasure, and imprisonment.” Conceived and curated by scholar and curator Nicole R. Fleetwood, the timely, critically recognized traveling exhibition presents long-overdue insights about the effects of incarceration on countless individuals and communities and is accompanied by book authored by Fleetwood.

 


THADDEUS MOSLEY, “Off Minor,” 2019 (walnut, 55 x 27 x 24 inches / 139.7 x 68.6 x 61 cm). | Courtesy the artist. Image courtesy the artist and Karma, New York

 
Thaddeus Mosley: Forest @ Art + Practice, Los Angeles, Calif. | Sept. 17, 2022-Jan. 21, 2023

Working with felled timber, Pittsburgh, Pa., sculptor Thaddeus Mosley “transforms wood into inventive abstract forms that source inspiration from the art of the African diaspora, jazz, and the European modernist avant-garde.” Five large-scale sculptures made between 2015 and 2021 are on view in his first solo museum exhibition in Los Angeles. Organized by the Baltimore Museum of Art the show travels next to the Nasher Sculpture Center in Dallas, Texas.

 


JOE LIGHT, “Birdman Trainer,” 1987 (enamel on wood paneling). | National Gallery of Art, Washington, Patrons’ Permanent Fund and Gift of the Souls Grown Deep Foundation, 2020.28.37

 
Called to Create: Black Artists of the American South @ National Gallery of Art, Washington, D.C. | Sept. 18, 2022-March 26, 2023

The women quilters of Gee’s Bend, Ala., Thornton Dial, Joe Light, Mary T. Smith, James “Son Ford” Thomas, Purvis Young, and Georgia and Henry Speller, are among the many Black artists in the South who created spectacular artworks for decades with little recognition. This exhibition showcases their work. The presentation is based on a major acquisition of 40 works from the Souls Grown Deep Foundation in 2020 and several other additions to the museum’s collection.

 


AARON DOUGLAS, “The Creation,” 1927 (gouache with graphite underdrawing on paper, 11 3/4 x 9 inches). | Courtesy SCAD Museum of Art, Gift of Dr. Walter O. Evans and Mrs. Linda J. Evans

 
Aaron Douglas: Sermons @ SCAD Museum, Savannah College of Art and Design in Savannah, Ga. | Sept. 21, 2022-Jan. 30, 2023

Exploring the generational influence of Aaron Douglas (1899-1979), this exhibition brings together a selection of key works by the Harlem Renaissance figure with works by Adebukola Bodunrin and Ezra Claytan Daniels, Afua Richardson, Akeema-Zane and Rena Anakwe, Allison Janae Hamilton, Diedrick Brackens, Khari Johnson Ricks, and Kara Walker—contemporary artists whose practices are informed by or resonate with his output.

 


JOHN EDMONDS (American, born 1989), “Refuge,” 2022 (pigment injet print 40 x 60 inches / 101.6 x 152.4 cm. | © John Edmonds. Courtesy the artist, Commissioned by Cincinnati Art Museum

 
Natural World: Photography by John Edmonds and David Hartt @ Cincinnati Art Museum in Cincinnati, Ohio. | Sept. 30, 2022–Jan. 15, 2023

This exhibition presents new photography by David Hartt (“The Garden”) and John Edmonds (“Father’s Jewels”), two series that explore “meanings of nature and naturalness through overlapping dialogues with history, collections, and institutions.” Commissioned by the Cincinnati Art Museum, the project is a collaboration among the artists and poet/scholar Jason Allen-Paisant and organizing curator Nathaniel M. Stein, and includes a companion book (available in the museum’s shop Sept 29).

 


MELEKO MOKGOSI created a new body of work for the exhibition titled Spaces of Subjection. | © Meleko Mokgosi, Courtesy Jack Shaiman Gallery

 
Currents 122: Meleko Mokgosi @ Saint Louis Art Museum in Saint Louis, Mo. | September 30, 2022–February 19, 2023

Meleko Mokgosi’s photorealistic paintings are “deeply rooted in critical theory, postcolonial studies, and research-based practices.” This exhibition presents a new body of work called Spaces of Subjection with monochromatic figurative paintings on view with large-scale text-based pigment transfers. Botswana-born Mokgosi is an associate professor at the Yale School of Art, where he serves as co-director of graduate studies in painting/printmaking and co-director of the Interdisciplinary Art and Theory Program. He is also the 2021-22 Henry L. and Natalie E. Freund Teaching Fellow at the Sam Fox School of Design and Visual Arts at Washington University in St. Louis, an opportunity that includes this exhibition.

 

Sponsored by UBS, a global financial services and investment banking firm. With a deep commitment to the art community, UBS is a lead partner in Art Basel and co-presenter of the Global Art Market Report. UBS actively supports contemporary artists through its foundation, corporate art collection and art gallery located in the lobby of its New York headquarters.

 
OCTOBER
 


From left, LEZLEY SAAR, “Nesida is a hit-or-miss mindreader. Sometimes tears trickle from her ears when she is overwhelmed by the inner feelings of others.,” 2019 (acrylic on fabric, embellishments, curtain rod, 64 x 53 inches). | Courtesy of the artist and Walter Maciel Gallery; and LEZLEY SAAR, “The Clairvoyant,” 2022 (acrylic on canvas, mixed media within carved out book, 16 x 11 x 2.25 inches). | Courtesy of the artist

 
Lezley Saar: Diorama Drama @ Craft Contemporary, Los Angeles, Calif. | Oct. 2, 2022-Jan. 8, 2023

Expressing herself through a series of large-scale dioramas, Lezley Saar has created an immersive environment staged with a variety of mixed-media works—painted tapestries, totem sculptures, collages, and altered books. Los Angeles-based Saar focuses on themes of race, gender, neurology, and sexuality. The presentation features works produced over the past 25 years, including some new ones made specifically for the exhibition.

 


DENYSE THOMASOS, “Metropolis,” 2007 (acrylic, charcoal, porous-point marker on canvas, unframed: 214 x 335.6 x 3.5 cm). | Art Gallery of Ontario. Purchased with the assistance of the Toronto International Art Fair 2007 Opening Night Preview, and with the Financial Support of the Canada Council for the Arts Acquisition Assistance Program, 2008. © The Estate of Denyse Thomasos and Olga Korper Gallery. 2007/241

 
Denyse Thomasos: Just Beyond @ Art Gallery of Ontario (AGO), Toronto, Ontario, Canada. | Oct. 5, 2022-Feb. 20, 2023

Art Gallery Ontario is presenting first major retrospective of Denyse Thomasos, a Trinidadian-Canadian painter featured in the 2022 Whitney Biennial. Thomasos emerged in the 1990s with “a singular style that employed abstraction as a means to explore contemporary issues of race, the architecture of confinement and our complex relationships to space and place, and the environment.” Based on a cache of AGO acquisitions, loans from public and private collections, and scholarship established during a 2021 academic symposium organized by the museum, the exhibition is accompanied by a fully illustrated catalog.

 


NJIDEKA AKUNYILI CROSBY, “The Beautyful Ones” Series #7, 2018 (acrylic, colored pencil and transfers on paper, 59 7/8 x 42 1/2 inches / 152.1 x 108 cm). | Collection of ICA Boston. Acquired through the generosity of Fotene and Tom Cote in honor of Eve Respini. Courtesy the artist, Victoria Miro, and David Zwirner. © Njideka Akunyili Crosby

 
To Begin Again: Artists and Childhood @ Institute of Contemporary Art, Boston in Boston, Mass. | Oct. 6, 2022-Feb. 26, 2023

Described as the first U.S. exhibition to explore how themes of children and childhood have influenced the practices of visual artists, “To Begin Again” presents works made from the early 20th century to the present. Staged in six sections—self-expression, creativity, power, care, labor, and learning—works by about 40 artists are featured in the show. The international and intergenerational group includes Jean-Michel Basquiat, Jordan Casteel, Allan Rohan Crite, Karon Davis, Trenton Doyle Hancock, Tau Lewis, Glenn Ligon, Faith Ringgold, and Deborah Roberts.

 


BENNY ANDREWS, “The Cop,” 1968 (oil on canvas with fabric collage). | © Estate of Benny Andrews. Museum Purchase with the Helen and Everett H. Jones Purchase Fund, Licensed by VAGA at Artists Rights Society (ARS), New York

 
True Believers: Benny Andrews & Deborah Roberts @ McNay Art Museum, San Antonio, Texas. | Oct. 6, 2022-Jan. 22, 2023

“True Believers” considers the Black experience through the work of Georgia-born Benny Andrews (1930-2006) and Texas-born Deborah Roberts (b. 1962), who were three decades apart in age. The exhibition “explores the deep connections between the work of these two artists in relation to formal similarities, specifically the utilization of collage, as well as their shared interest in themes of activism, racial injustice, family, and religion.”

 


IBRAHIM EL-SALAHI, “Pain Relief Drawing,” 2016-18 (pen and ink on medicine packets and envelope. 7 1⁄8 x 3 7⁄8 inches / 18.1 x 9.8 cm). | Courtesy of the artist and Vigo Gallery, London

 
Ibrahim El-Salahi: Pain Relief Drawing @ The Drawing Center, New York, N.Y. | Oct 7, 2022–Jan 15, 2023

Sudanese-born, Oxford, England-based Ibrahim El-Salahi is a pioneer in African and Arab Modernism. Now 92 and experiencing chronic pain, his daily drawing practice keeps his mind preoccupied. With medicine packets, pill bottle labels, envelopes, and scraps of paper serving as his canvas, El-Salahi is presenting 122 detailed pen and ink drawings from his “Pain Relief” series. The first U.S. museum exhibition of the artist’s drawings will travel to Kunsthalle Zürich in winter 2023.

 


DEANA LAWSON (American, born 1979), “Coulson Family,” 2008 (pigment print). | Courtesy the artist; Sikkema Jenkins & Co., New York; and David Kordansky Gallery, Los Angeles. © Deana Lawson

 
Deana Lawson @ High Museum of Art, Atlanta Ga. | Oct. 7, 2022-Feb. 19, 2023

The first U.S. museum survey dedicated to the unique practice of Brooklyn-based photographer Deana Lawson features more than 50 works dating from 2014 to 2021. Lawson’s highly staged and stylized large-format images explore representations of Black identity rarely seen in museums and galleries. A fully illustrated catalog was published on the occasion of the exhibition, which is co-organized with the Institute of Contemporary Art Boston and MoMA PS1 in New York.

 


ASHLEY BRYAN, “Sea Calm (from Sail Away),” 2015 (collage of cut colored papers, 15 x 22 1/4 inches / 38.1 x 56.5 cm). | Gift of the Ashley Bryan Center. 2021.25:9

 
Ashley Bryan & Langston Hughes: Sail Away @ Morgan Library and Museum, New York, N.Y. | Oct. 7, 2022-Jan. 22, 2023

In June 2021, The Morgan Library and Museum acquired the preliminary drawings, collages, and “handmade book dummies” Ashley Bryan (1923-2022) created for the children’s book “Sail Away” (2015). Illustrated by Bryan, the volume features poems by Langston Hughes related to seas, rivers, and sailing, including one of his most celebrated works “The Negro Speaks of Rivers.” The original collages are the focus of the exhibition. An artist, storyteller, and illustrator of children’s books, Bryan died in February at the age of 98.

 


FRED EVERSLEY, Untitled, 1976 (cast polyester resin, 19-3/8 x 19-3/8 x 7 inches). | Collection of the Orange County Museum of Art. Given in fondest memory of Gertrude Fleischman by Pat and Carl Neisser, 1978.001. Photo by ofstudio

 
Fred Eversley: Reflecting Back (the World) @ Orange County Museum of Art, Costa Mesa, Calif. | Oct. 8, 2022-Jan. 2, 2023

When the newly built Orange County Museum of Art (OCMA) debuts in October, the grand opening will include a major exhibition surveying the five-decade practice of Fred Eversley. An aerospace engineer-turned-sculptor, his cast polyester resin forms are saturated with color, reflect light, and speak to the complexity and technical innovation of his earlier career. The exhibition revisits and expands upon the artist’s 1978 show at Newport Harbor Art Museum (now OCMA) exploring his contributions to the history of art in California and the Light & Space movement.

 


JACOB LAWRENCE (American, 1917-2000), “Street to Mbari,” 1964 (tempera over graphite on wove paper). | National Gallery of Art, Washington, D.C., Gift of Mr. and Mrs. James T. Dyke, 1993.18.1, © Jacob Lawrence / Artists Rights Society (ARS), New York

 
Black Orpheus: Jacob Lawrence and the Mbari Club @ Chrysler Museum of Art, Norfolk, Va. | Oct. 8, 2022-Jan. 8, 2023

Co-curated by Kimberli Gant and Ndubuisi Ezeluomba, this exhibition sheds light on the connections between Jacob Lawrence and his contemporaries in the Global South, exploring the Mbari Artists & Writers Club, an organization of Nigerian-based artists and writers, and Black Orpheus (1957–67), the Mbari publication that featured international reviews of artists from throughout the Diaspora, Lawrence among them. More than 125 objects are on view, including Lawrence’s under-studied Nigeria series (1964-65), works by artists featured in Black Orpheus, and archival materials such as images, videos, and letters. After opening at the Chrysler, the exhibition will travel to the New Orleans Museum of Art and the Toledo Museum of Art. An accompanying exhibition catalog is forthcoming in November.

 

Senga Nengudi performing Air Propo at JAM, 1981. | Courtesy Senga Nengudi and Lévy Gorvy

 
Just Above Midtown: Changing Spaces @ Museum of Modern Art, New York, N.Y. | Oct 9, 2022–Feb 18, 2023

Half a century ago, Linda Goode Bryant opened Just Above Midtown (JAM) in New York, a gallery and experimental artist space “where Black art flourished and debate was cultivated.” Active from 1974 to 1986, JAM provided a platform for African American artists and artists of color, many of them highly regarded today. The exhibition explores the gallery’s groundbreaking history and chronology of exhibitions; presents archival materials, photos, and videos; and showcases a spectrum of works by key artists connected to JAM. Curator Thomas (T.) Jean Lax organized the exhibition with curatorial assistant Lilia Rocio Taboada (both from the museum’s Department of Media and Performance) in collaboration with Bryant. An accompanying exhibition catalog is co-published with the Studio Museum in Harlem.

 


BOB THOMPSON (American, 1937–1966), “Blue Madonna,” 1961 (oil on canvas, 51 1/2 × 74 3/4 inches). | The Detroit Institute of Arts, gift of Edward Levine in memory of Bob Thompson. © Michael Rosenfeld Gallery LLC, New York. Photo: The Detroit Institute of Arts, USA / Bridgeman Images

 
Bob Thompson: This House Is Mine @ Hammer Museum at UCLA, Los Angeles, Calif. | Oct. 11, 2022-Jan. 8, 2023

Recognized for his singular use of form and color, the work of Bob Thompson (1937-1966) is defined by a “rigorous engagement with art history and a commitment to expressive figuration.” Titled after one of his paintings, this traveling exhibition is the first major survey of the artist’s brief, yet prolific career in more than two decades. Thompson split his time between New York and Europe, dying in Rome, Italy, at age 28. A fully illustrated catalog documents the show. “Hammer Projects: Janiva Ellis” is also on view at the Hammer Museum this season.

 


GORDON PARKS, “Untitled,” 1966, printed 2022 (gelatin silver print). | Courtesy of and © The Gordon Parks Foundation

 
Gordon Parks: Stokely Carmichael and Black Power @ Museum of Fine Arts, Houston in Houston, Texas. | Oct. 16, 2022-Jan. 16, 2023

In 1966 and 1967, Gordon Parks (1912-2006) traveled around the country with Stokely Carmichael (1941-1998), then-chairman of the Student Nonviolent Coordinating Committee who later became a prominent member of the Black Panther Party. Parks took more than 700 photographs as Carmichael addressed protestors, visited with supporters, and registered voters. Life magazine published a 1967 profile of Carmichael, written and photographed by Parks. The five images featured in the article are presented in the exhibition, alongside about 50 additional photographs and contact sheets displayed publicly for the first time. A fully illustrated catalog accompanies the presentation.

 


PAUL ANTHONY SMITH, “Dog an Duppy Drink Rum,” 2020-21 (unique picotage). | © Paul Anthony Smith. Image Courtesy the Artist and Jack Shainman Gallery, New York

 
Paul Anthony Smith: Standing In @ Blaffer Art Museum, University of Houston in Houston, Texas | Oct. 22, 2022—March 12, 2023

Jamaica-born, New York-based Paul Anthony Smith has developed his own photographic medium: picotage. Drawing on his ceramic training, he employs carving tools to “re-sculpt the image and thicken its meaning.” Smith uses this process to embellish and transform the countless images of people and places he’s photographed throughout the Caribbean. This mid-career survey of Smith is co-organized with the Kemper Museum of Contemporary Art in Kansas City, Mo.

 


FRANK BOWLING, “Middle Passage,” 1970 (synthetic polymer paint, silkscreen ink, spray paint, wax crayon, and graphite on canvas). | Menil Collection, Houston. Photograph by Adam Neese. © Frank Bowling. All rights reserved, DACS, London & ARS, New York 2022

 
Frank Bowling’s Americas @ Museum of Fine Arts Boston in Boston, Mass. | Oct. 22, 2022–April 9, 2023

The first major survey of the British Guyana-born Frank Bowling in an American museum in more than 40 years features more than 30 works made during the transformative and influential years he spent in New York, from 1966 to 1975. A new fully illustrated catalog will be published to accompany the exhibition, which will travel to the San Francisco Museum of Modern Art next spring.

 


JOHN AKOMFRAH, “Purple,” 2017 (6-channel HD color video installation with 15.1 surround sound, dimensions variable, 62 minutes). | © Smoking Dogs Films. Courtesy Smoking Dogs Films and Lisson Gallery

 
John Akomfrah: Purple @ Smithsonian’s Hirshhorn Museum, Washington, D.C. | Oct. 28, 2022-Summer 2023

A Ghanaian-born British artist and filmmaker, John Akomfrah investigates a range of issues in his work, including memory, post-colonialism, and migration. For his largest-ever video project, Akomfrah addresses climate change. The immersive work is “an enveloping, hour-long symphony of image and sound” featuring original and archival footage installed across six screens. The Hirshhorn museum co-acquired “Purple” in 2021, with the Institute of Contemporary Art in Boston.

 


KEHINDE WILEY, “Sleep,” 2008 (oil on canvas, 132 x 300 inches / 335.3 x 762 cm). | © Kehinde Wiley. Rubell Museum, Acquired in 2009

 
What’s Going On @ Rubell Museum DC, Washington, D.C. | Opens Oct. 29, 2022

From the Miami family of contemporary art collectors, the New Rubell Museum DC opens this fall in the former Randall Junior High School building. “What’s Going On,” the museum’s debut show will bring together more than 190 works from the Rubell Collection with a diverse slate of 37 artists represented, including Natalie Ball, Cecily Brown, Keith Haring, Glenn Ligon, Christina Quarles, Tschabalala Self, Sylvia Snowden, Vaughn Spann, Hank Willis Thomas, Mickalene Thomas, Carrie Mae Weems, and Kehinde Wiley. The title of the exhibition references the 1971 hit song by Marvin Gaye, a Randall graduate, and the sociopolitical nature of the artworks on view.

 


JAMAL CYRUS, “The End of My Beginning,” 2005 (sculptural maquette, hair). | Image courtesy of the Artist and Inman Gallery, Houston

 
Jamal Cyrus: The End of My Beginning @ Mississippi Museum of Art, Jackson, Miss. | Oct. 29, 2022-March 5, 2023

Houston, Texas-based Jamal Cyrus “explores the evolution of African American identity within Black political movements and the African diaspora.” The artist’s first museum survey spans about 15 years, presenting about 50 works in a variety of mediums, from assemblage and textiles to sculpture and installation. A fully illustrated catalog accompanies the traveling exhibition organized by the Blaffer Art Museum.

 


Installation view of ZOË CHARLTON (American, born 1973, Eglin Air Force Base, Fla.), “Permanent Change of Station,” 2022 (collage on wood panel and Graphite, gouache, collage on paper, Pop-up Construction, 73 1/8 x 195 3/4 x 120 1/4 inches. Collage: 82 x 211 1/4 inches), Mississippi Museum of Art, Jackson, Miss. | Courtesy the artist

 
A Movement in Every Direction: Legacies of the Great Migration @ Baltimore Museum of Art in Baltimore, Md. | Oct. 30, 2022-Jan. 29, 2023

Co-curated by Jessica Bell Brown and Ryan N. Dennis, this exhibition explores the Great Migration of more than 6 million African Americans from the U.S. South to Northern cities across the country starting early in the 20th century and continuing through the 1970s. Newly commissioned works by 12 artists, includingMark Bradford, Torkwase Dyson, Theaster Gates, Zoë Charlton, Robert Pruitt, Jamea Richmond-Edwards, and Carrie Mae Weems reflect how the mass movement shaped the history, culture, and lived experiences of Black people in the rural towns they left behind and the industrial centers and urban cities where they settled. A fully illustrated catalog and a critical reader accompany the show, which which was co-organized by the Mississippi Museum of Art. The exhibition coincides with several other shows at the Baltimore Museum of Art, including “Omar Ba: Political Animals,” “Darrel Ellis: Regeneration,” and “Stanley Whitney: Dance with Me Henry.”

 


EJ HILL, “Pillar,” 2017, Future Generation Art Prize at 57th Venice Biennale. | Photo by Sergey Illin, Courtesy MASS MoCA

 
EJ Hill: Break Run Helix @ Massachusetts Museum of Contemporary Art (MASS MoCA), North Adams, Mass. | Oct. 30, 2022-January 2024

Los Angeles-based EJ Hill’s practice focuses on experiences with public struggle, trauma, and joy. His performances are exercises in endurance that raise issues of social equity. For his first solo museum exhibition and largest presentation to date, Hill is showing paintings, sculptures, and a rideable installation inspired by his longstanding interest in roller coasters.

 

Sponsored by UBS, a global financial services and investment banking firm. With a deep commitment to the art community, UBS is a lead partner in Art Basel and co-presenter of the Global Art Market Report. UBS actively supports contemporary artists through its foundation, corporate art collection and art gallery located in the lobby of its New York headquarters.

 
NOVEMBER
 


HENRY TAYLOR, Untitled, 2021 (acrylic on linen, 71 7/8 x 54 1/8 x 1 1/4 inches / 182.6 x 137.5 x 3.2 cm). | Image and work courtesy the artist and Hauser & Wirth. Photo by Jeff McLane

 
Henry Taylor: B Side @ Museum of Contemporary Art (MOCA) Los Angeles in Los Angeles, Calif. | Nov. 6, 2022-April 30, 2023

The first major museum exhibition of Henry Taylor in his hometown of Los Angeles surveys three decades of work across paintings, sculpture, and installation. Richly colored and loosely rendered, “Taylor’s portraits and allegorical tableaux—populated by friends, family members, strangers on the street, athletic stars, and entertainers—display flashes of familiarity in their seemingly brash compositions, which nonetheless linger in the imagination with uncanny detail.”

 


DIDIER WILLIAM, “Mosaic Pool, Miami,” 2021 (acrylic, collage, ink, wood carving on panel, 64 x 104 inches). | © Didier William, Collection of Reginald and Aliya Browne

 
Didier William: Nou Kite Tout Sa Dèyè (We’ve Left That All Behind) @ Museum of Contemporary Art, North Miami in Miami, Fla. | Nov. 7, 2022-April 16, 2023

The largest-ever retrospective of Didier William features more than 40 works, including a monumental sculpture and a selection of new paintings, drawings, and artist books. His figurative images reimagine art history and explore the immigrant experience and queer identity. Haitian-born William grew up in North Miami and is currently a professor of art at Rutgers University. A new exhibition catalog accompanies the show.

 


Installation view of “Theaster Gates: A Clay Sermon,” 2021, Whitechapel Gallery, London. | Courtesy the artist and Whitechapel Gallery, London. Photo by Theo Christelis

 
Theaster Gates: Young Lords and Their Traces @ New Museum, New York, N.Y. | Nov. 10, 2022-Feb. 5, 2023

The unique and expansive practice of Chicago artist Theaster Gates spans a wide range of mediums, from sculpture and social practice to collaborative performance and archiving as a form of “devotion and remembrance.” For his first American museum survey, Gates is presenting works made over the past 20 years representing the full range of his artistic production. The paintings, sculpture, video, performances, and collections on view honor “the radical thinkers who have shaped his city and the United States as a whole” and “memorialize both heroic figures and more humble, everyday icons.”

 


DAWOUD BEY (American, b. 1953). “The Woman in the Light, Harlem, NY,” 1980 (gelatin silver print, 20 x 24 inches). | © Dawoud Bey. Courtesy of Stephen Daiter Gallery

 
Dawoud Bey & Carrie Mae Weems: In Dialogue @ Seattle Art Museum in Seattle, Wash. | Nov. 17, 2022-Jan. 22, 2023

Artists and friends, both born in 1953, Dawoud Bey and Carrie Mae Weems first met at the Studio Museum in Harlem in 1976. Over the ensuing five decades, their practices have explored similar themes: race, class, representation and power dynamics. This traveling exhibition and coinciding catalog bring their work together for the first time.

 


From left, Studio Museum in Harlem 2021⁠–22 artists in residence Jacob Mason-Macklin, Qualeasha Wood, and Cameron Granger, 2022. | Photo by Jeremy Grier, Courtesy Studio Museum in Harlem

 
It’s time for me to go: Studio Museum Artists in Residence 2021–22 @ MoMA PS1, Long Island City, Queen, N.Y. | Nov. 17, 2022-Feb. 27, 2023

At the conclusion of their residencies, Studio Museum in Harlem 2021⁠–22 artists in residence will present a group exhibition at MoMA PS1, part of a multiyear collaboration between the institutions. Works by Queens, N.Y.-based painter Jacob Mason-Macklin; Brooklyn, N.Y., artist Qualeasha Wood who engages with textiles; and video artist Cameron Granger of Columbus, Ohio, will be on view.

 


JACK WHITTEN, “Eta Group IV,” 1976. | Private Collection. © Jack Whitten Estate. Courtesy Jack Whitten Estate and Hauser & Wirth

 
Jack Whitten @ Dia Beacon in Beacon, N.Y. | Nov. 18, 2022–July 10, 2023

Dia is presenting the first exhibition dedicated to Jack Whitten’s Greek Alphabet (1975–78) series. The renowned abstract artist known for his innovative methods, materials, and tools, “used the Greek alphabet as the organizational principle of this landmark-yet-overlooked series, which consists of variations on abstract, black-and-white compositions and experiments in mark-making.” A forthcoming book published by Dia documents the exhibition, which features 40 paintings drawn from private and institutional collections.

 


After debuting at MCA Chicago, Nick Cave’s hometown museum, the exhibition is traveling to the Guggenheim. Shown, Installation view of “Nick Cave: Forothermore,” MCA Chicago, 2022. | Photo by Nathan Keay, © MCA Chicago

 
Nick Cave: Forothermore @ Solomon R. Guggenheim Museum, New York, N.Y. | Nov. 18, 2022-April 10, 2023

“Forothermore” is Nick Cave’s first career-spanning retrospective. An artist, performer, fashion designer, educator, and activist, Chicago-based Cave is showcasing the full spectrum of his creativity. His celebrated Sound Suits, found-object sculptures, immersive installations, videos, and rarely seen early works will be on view. The title of the exhibition is a new word invented to define and reflect Cave’s “lifelong commitment to creating space for those who feel marginalized by dominant society and culture—especially working-class communities and queer people of color.” The exhibition is organized by Naomi Beckwith, marking her curatorial debut at the Guggenheim, where she has served as deputy director and chief curator since June 2021. Beckwith developed “Forothermore” at MCA Chicago, where she previously served as senior curator.

 


SAMUEL FOSSO, “Self-portrait (Tommie Smith),” 2008 (Gelatin silver print, 103.7 × 77.9 × 4.5 cm). | © Samuel Fosso, The Walther Collection

 
Samuel Fosso: Affirmative Acts @ Art on Hulfish, Princeton Art Museum, Princeton University in Princeton, N.J. | Nov. 19, 2022-Feb. 2023

Born in Cameroon, Samuel Fosso grew up in Nigeria and first established himself as a commercial photographer in the Central African Republic, where he opened a portrait studio when he was only 13. Known for his theatrical self portraiture, his images explore identity, the legacy of colonialism, and the complex history of representation. Fosso’s first U.S. museum survey presents several bodies of work spanning his career, including his African Spirits series depicting 14 Black Liberation figures, his vision of a Black Pope and a Liberated American Woman of the 1970s, and early self-portraits made when he was a teenager to send to his grandmother. The exhibition coincides with a presentation of “Samuel Fosso: African Spirits” at the Menil Collection in Houston, Texas.

 


DANIEL LIND RAMOS, (b. 1953, Loíza, Puerto Rico; lives in Loíza), “Figura de Cangrejos,” 2018-19 (steel, aluminum, nails, palm tree branches, dried coconuts, branches, palm tree trunks, burlap, machete, leather, ropes, sequin, awning, plastic ropes, fabric, pins, duct tape, acrylic, 90 × 72 × 82 inches / 228.6 × 182.9 × 208.3 cm). | Collection Benedicta Badía de Nordenstahl

 
Forecast Form: Art in the Caribbean Diaspora, 1990s–Today @ Museum of Contemporary Art Chicago in Chicago, Ill. | Nov. 19, 2022-April 23, 2023

With the political, social and economic climate of the 1990s serving as a backdrop, this exhibition considers how the transformational decade and the global expansion of the art world have influenced “production, circulation, and presentation” of art from the Caribbean. The show is described as “the first major group exhibition in the United States to envision a new approach to contemporary art in the Caribbean diaspora, foregrounding forms that reveal new modes of thinking about identity and place.” About three dozen artists are featured, including Candida Alverez, Firelei Báez, Frank Bowling, Sandra Brewster, María Magdalena Campos-Pons, Peter Doig, Denzil Forrester, Daniel Lind-Ramos, Lorraine O’Grady, Ebony G. Patterson, Tavares Strachan, and Didier William.

 


OMAR BA, “Océan Atlantique 3 (Atlantic Ocean 3),” 2021. | Private Collection, Switzerland-Geneva. © Omar Ba. Photo by Philipp Hänger. Courtesy the artist and Wilde

 
Omar Ba: Political Animals @ Baltimore Museum of Art in Baltimore, Md. | Nov. 20, 2022-April 2, 2023

Senegalese artist Omar Ba makes “expressive figurative paintings that often intertwine African and European cultures and histories to examine the corrupting nature of wealth and power and their impacts on global communities.” The first U.S. museum exhibition dedicated to Ba features 15 recent large-scale paintings, early works on paper, and a new site specific mural. The show coincides with several other exhibition at the Baltimore Museum of Art, including “A Movement in Every Direction: Legacies of the Great Migration,” “Darrel Ellis: Regeneration,” and “Stanley Whitney: Dance with Me Henry.”

 
DECEMBER
 


W.E.B DU BOIS, From left, “[The Georgia Negro] Assessed valuation of of all taxable property owned by Georgia Negroes, 1875-1890,” circa 1900 (ink and watercolor on board, 710 x 560 mm) and “[The Georgia Negro] City and rural population. 1890,” circa 1900 (ink and watercolor on board, 710 x 560 mm). | Library of Congress

 
Deconstructing Power: W. E. B. Du Bois at the 1900 World’s Fair @ Cooper Hewitt, Smithsonian Design Museum, New York, N.Y. | Dec. 9, 2022-May 29, 2023

For the 1900 Paris World’s Fair, W.E.B. Du Bois and his Atlanta University students made a series of data visualizations illustrating the social and economic progress of Black Americans since emancipation. The presentation was titled the “American Negro Exhibit.” On loan from the Library of Congress, the graphics series is displayed for the first time in context with manufacturers, decorative arts, and design objects featured at the fair. An illustrated volume dedicated to Du Bois’s data portraits was published in 2018.

 

Afro-Atlantic Histories @ Los Angeles County Museum of Art (LACMA) in Los Angeles, Calif. | Dec. 11, 2022–Sept. 10, 2023

An expansive visual account of the African Diaspora, “Afro-Atlantic Histories” explores the histories, cultures, and experiences of Black people of African descent, across five centuries dating from the 17th century to the present. More than 130 works of art by artists from Africa, Europe, the Caribbean, and the Americas speak to the legacy of the transatlantic slave trade and its geographic and human outcomes. Firelei Báez, Romare Bearden, Aaron Douglas, Samuel Fosso, Barley L. Hendricks, Jacob Lawrence, Glenn Ligon, Daniel Lind-Ramos, Kerry James Marshall, Zanele Muholi, and Faith Ringgold are among the dozens of artists represented. After originating in Brazil in 2018, the touring show continues after LACMA, heading next to the Dallas Museum of Art. A fully illustrated catalog accompanies the U.S. version of the exhibition. CT

 

Sponsored by UBS, a global financial services and investment banking firm. With a deep commitment to the art community, UBS is a lead partner in Art Basel and co-presenter of the Global Art Market Report. UBS actively supports contemporary artists through its foundation, corporate art collection and art gallery located in the lobby of its New York headquarters.