Anna Nelson-Daniels reviews Diedrick Brackens: the shape of survival in the Walter and Linda Evans Center for African American Studies at the SCAD Museum of Art, Savannah.
May Howard reviews the role of artists-archivists Myriam Amri and Xitlalli Alvarez Almendariz in An Act to Prohibit Camels and Dromedaries from Running at Large at Friends Gallery, Houston.
Valentin Diaconov reviews the aesthetic of stuttering found in Bryan Castro: to stutter / to atomize / to interrupt at D.D.D.D., New York City.
Emily Alesandrini reviews Sadie Sheldon’s solo exhibition briefly, in which her alchemy transforms the seemingly worthless into the wondrously worthwhile, at Sibyl Gallery, New Orleans.
Angie Toole Thompson reviews The Third Annual Queer Arts Initiative Showcase at Good Art Co. in Greenville, South Carolina—an exhibition that holds feelings of joy, humor, horror, and rage in balance–alongside an unbeatable determination to thrive.
Colony Little reviews North Carolina Museum of Art’s presentation of Ekow Eshun’s The Time is Always Now, bringing together 23 African diasporic artists who render Black subjectivity, identity, and interiority while subverting notions of the gaze.
Francess Archer Dunbar reviews Diego Alejandro Waisman’s Sunset Colonies at the Patricia & Phillip Frost Art Museum at Florida International University, Miami, which uses photography and archival materials to preserve the overlooked histories of South Florida’s mobile home communities.
Quinn Foster reviews Prairie Stories: Art and Ecological Restoration on Louisiana’s Prairies, sharing the powerful connections between art, activism, nature, and storytelling at the Acadiana Center for the Arts, Lafayette.
Samantha Oleschuk reviews Andréa Keys Connell’s solo exhibition at Artspace in Raleigh, NC, one that gestures to the multiplicity of maternal experience.
