deconstructed soft drink paintings play with recognizable pop culture iconography, while ’s
figurative collage centers the show with a different kind of loaded iconography—that of the black female figure. ’s
politically charged drawings give the show further gravity, deconstructing subtle and overt racism. His ink on paper piece, STOP
(2012), rearranges words to read, “STOP MAKING BLACK ART / STOP BLACK ART MAKING,” both a message to himself and an indictment of the world around him. ’s
grand mixed media works are at once sculptural and flat and moving, like a pop-up book with deep political messages of national hurt. He Was
(2015) addresses the New York Times
’ labeling of Michael Brown as “no angel,” working as both a tribute to Brown and a critique of the institution.