1. Statements by and About the Deceased Artist
  2. Belkis Ayón
  3. pp. 769-775
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  1. A Kind of Emancipation: After Kara Walker
  2. Vievee Francis
  3. p. 776
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  1. Artist Statement
  2. Julie Mehretu
  3. pp. 777-781
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  1. An Interview with Julie Mehretu
  2. Dagmawi Woubshet
  3. pp. 782-798
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  1. Artist Statement
  2. Kevin Jerome Everson
  3. pp. 799-801
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  1. A Conversation with Kevin Jerome Everson
  2. Claudrena Harold
  3. pp. 802-808
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  1. Artist Statement
  2. Mark Bradford
  3. pp. 809-813
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  1. Painting After All: A Conversation with Mark Bradford
  2. Huey Copeland
  3. pp. 814-826
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  1. Artist Statement
  2. Clifford Owens
  3. pp. 827-834
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  1. The Satisfactions of a Limited View: On the paintings of Horace Pippin
  2. Janice N. Harrington
  3. p. 835
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  1. Fear: After Fear by Trenton Doyle Hancock, 2008
  2. Kiki Petrosino
  3. p. 836
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  1. Artist Statement
  2. Trenton Doyle Hancock
  3. pp. 837-843
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  1. Tabac: After Jean-Michel Basquiat
  2. Andrew E. Colarusso
  3. p. 844
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  1. Artist Statement
  2. Kianja Strobert
  3. pp. 845-847
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  1. On Daniel Minter’s High John the Conqueror
  2. Jericho Brown
  3. p. 848
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  1. Artist Statement
  2. Eric J. Henderson
  3. pp. 849-851
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  1. Dear Mr. Bill
  2. Yusef Komunyakaa
  3. pp. 852-854
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  1. For Which It Stands
  2. Gregory Pardlo
  3. pp. 855-856
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  1. Artist Statement
  2. Tiago Gualberto
  3. pp. 857-860
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  1. Artist Statement
  2. Phillip Thomas
  3. pp. 861-865
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  1. Ode to Black Botanical Illustrators
  2. Janice N. Harrington
  3. p. 866
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  1. Artist Statement
  2. Leslie Smith III
  3. pp. 867-869
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  1. Tyree Guyton’s Rosa Parks Street Sign: Fragment from the Heidelberg Project Art Installation
  2. Jamaal May
  3. p. 870
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  1. Artist Statement
  2. Nari Ward
  3. pp. 871-873
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  1. Newly Discovered Portrait of America’s First Black President: After Horace H. Pippin (1888–1946)
  2. Janice N. Harrington
  3. p. 874
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  1. Artist Statement
  2. Florine Demosthene
  3. pp. 875-879
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  1. Spring Moths: After Youssef El Khorrib
  2. Myronn Hardy
  3. p. 880
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  1. Artist Statement
  2. Alexandre Arrechea
  3. pp. 881-887
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  1. Tyree Guyton’s Caged Brain: Detroit Institute of the Arts
  2. Jamaal May
  3. p. 888
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  1. Artist Statement
  2. Mequitta Ahuja
  3. pp. 889-893
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  1. Losing the Way, 1930: Oil on burnt-wood by Horace Pippin
  2. Janice N. Harrington
  3. p. 894
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  1. Artist Statement
  2. Robert Pruitt
  3. pp. 895-897
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  1. Untitled (Aopkhes): After Jean-Michel Basquiat
  2. Andrew E. Colarusso
  3. p. 898
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  1. Artist Statement
  2. Jennie C. Jones
  3. pp. 899-902
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  1. Artist Statement
  2. Lynette Yiadom-Boakye
  3. pp. 903-906
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  1. Artist Statement
  2. Rodrigue Glombard
  3. pp. 907-912
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  1. Artist Statement
  2. Rosana Paulino
  3. pp. 913-916
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  1. Artist Statement
  2. Didier William
  3. pp. 917-920
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  1. Artist Statement
  2. Wangechi Mutu
  3. pp. 921-928
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  1. Artist Statement
  2. Edgar Arceneaux
  3. pp. 929-932
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  1. Artist Statement
  2. Isaac Julien
  3. pp. 933-938
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  1. Artist Statement
  2. Sidney Amaral
  3. pp. 939-942
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  1. Artist Statement
  2. Nicole Awai
  3. pp. 943-946
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  1. Artist Statement
  2. Manuel Mathieu
  3. pp. 947-950
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  1. Artist Statement
  2. Rashid Johnson
  3. pp. 951-956
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  1. Artist Statement
  2. Hank Willis Thomas
  3. pp. 957-960
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  1. Artist Statement
  2. Michael K. Taylor
  3. pp. 961-964
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  1. Artist Statement
  2. Sedrick Huckaby
  3. pp. 965-968
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  1. Artist Statement
  2. Shantell Martin
  3. pp. 969-972
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  1. Performing Empathies: The Art of Saya Woolfalk
  2. Nicole R. Fleetwood
  3. pp. 973-989
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  1. Visual Legacies of Slavery and Emancipation
  2. Cheryl Finley
  3. pp. 1023-1032
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  1. The Personal Without Mask
  2. Charles Henry Rowell
  3. pp. v-xvi
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  1. Acknowledgment
  2. Charles Henry Rowell
  3. pp. 1033-1034
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