Shows

On Hip Hop‘s 50th Anniversary, Here Are the Essential Museum Shows Celebrating the Movement‘s History and Enduring Legacy


The year 2023 marks half a century since DJ Kool Herc dropped the first breakbeat at a house party in the Bronx, inadvertently birthing the style, movement, and whole culture we now know as hip hop. In the following decades, hip hop has topped charts, shaped fashions, inspired visual arts, and powered social justice causes, all as part of its globe-dominating footprint. “Hip hop,” as Snoop Dogg once put it, “is what makes the world go around.”

This year, celebrations have naturally been lined up to commemorate hip hop’s 50th anniversary. For one, New York City, the genre’s birthplace, will partner with the Universal Hip Hop Museum to stage 50 special events over 50 days. Other museums are not sitting this one out either. Below are a handful of upcoming exhibitions that are opening in time to honor hip hop’s long, rich, and enduring legacy.

 

“Hip-Hop: Conscious, Unconscious”
Fotografiska New York
January 26–May 21, 2023

David Corio, De La Soul outside the Apollo Theater, NYC (1993). Photo: Courtesy of Fotografiska New York and copyright of the artist.

To trace hip hop’s trajectory from its origins as a community concern to its emergence as a global juggernaut, Fotografiska, in conjunction with Mass Appeal, will exhibit a trove of images documenting some of the scene’s most notable players and moments. Here, photographs of the history-making likes of Grandmaster Flash, Lil’ Kim, and Beastie Boys will sit across from those of fresh faces including Kendrick Lamar and Megan Thee Stallion—all lensed by legendary photographers from Janette Beckman to Ricky Powell.

Key to the show is its focus on hip hop’s grassroots founding, aided by archival ephemera that will add context to the images on view. “It’s easy to forget that there was a time before hip hop was an industry and before it made money,” said Sacha Jenkins, CCO of Mass Appeal and the show’s co-curator. “The exhibition’s lifeblood is the period before hip hop knew what it was.”

 

“Fresh, Fly, and Fabulous: 50 Years of Hip Hop Style”
The Museum at FIT
February 8–April 23, 2023

Beau McCall, Black Lives Matter Triple T-shirt, 2021. Photo: © The Museum at FIT.

From Kangol hats and Adidas Superstars to Dapper Dan jackets and Timberland boots—hip hop artists have made significant stylistic choices across generations, and in turn, transformed the fashion landscape. Through an assembly of more than 100 garments and accessories, the Museum at FIT will explore the role of fashion in hip hop. Over the decades, the movement has revolutionized streetwear and athleisure, used apparel to center Black pride and strength, and ultimately, shifted the luxury market. 

Look out for key fashions such as the Karl Kani pieces worn by Tupac Shakur, the Tommy Hilfiger bandeau Aaliyah once donned, tracksuits beloved by Run DMC, among spotlights on labels like FUBU, Rocawear, and Fenty launched by hip hop entrepreneurs themselves.

 

“The Culture: Hip Hop and Contemporary Art in the 21st Century”
Baltimore Museum of Art
April 5–July 16, 2023

Hassan Hajjaj, Cardi B Unity (2017). Photo: Courtesy the artist and Yossi Milo Gallery, New York.

In this collaborative exhibition, the Baltimore Museum of Art and Saint Louis Art Museum will track the wide-ranging impact of hip hop on popular culture since 2000. In particular, the show examines how the movement has challenged dominant cultural narratives and structures, surfacing themes from sexuality to poverty to urbanism, via the urgent and essential works of Black creatives.

Some 70 objects are on view, spanning a variety of mediums and created by artists not limited to Jean-Michel Basquiat, Nina Chanel Abney, Virgil Abloh, Lauren Halsey, and Arthur Jafa. Collectively, they offer “an opportunity to celebrate the richness of creativity and innovation hip hop has catalyzed by exploring it through social, material, and art historical lenses,” per Gamynne Guillotte, the BMA’s Chief Education Officer. 

Following its Baltimore dates, the exhibition will run at the Saint Louis Art Museum from August 25, 2023 through January 1, 2024.

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Parallel Shows in London and Berlin Conjure Up Political Utopia, Using A.I. and Celebrity Deepfakes


This will sound terribly jaded, but, in the spirit of honesty: artists Annika Kuhlmann and Christopher Kulendran Thomas presented two types of exhibitions I normally would have walked out of.

On the first floor of their show at Berlin’s KW Institute for Contemporary Art is a political video documentary; on the second an all-too familiar Ab-Ex relaunch. So many biennials later, I’d rather read about a political uprising in a book by an anthropologist than hear about it from an artist. Abstract painting, for its part, can be enjoyable in a straightforward way, but, these days, it is often employed not because of what it is, but because of who made it. These kinds of encounters are often with art that doesn’t need to be art, but rather art that is promoted simply because it supplies a window onto a subject of importance.

“Another World,” where the focus is on the Tamil Tigers, an ex-militant organization once based in northeastern Sri Lanka, is not that. Rather, Kulendran Thomas and Kuhlmann’s exhibition is so self-conscious as to what it means to think through and with art—and so forceful in that self-consciousness—you cannot help but be intrigued. And so I stayed; it stayed.

Christopher Kulendran Thomas The Finesse (2022) in collaboration with Annika Kuhlmann. Installation view of the exhibition Christopher Kulendran Thomas. “Another World” at KW Institute for Contemporary Art, Berlin. Photo: Frank Sperling

Kulendran Thomas, a Berlin-based artist of Tamil descent, alongside his German collaborator Kuhlmann, created “Another World” as two parallel exhibitions simultaneously on view at KW and the Institute of Contemporary Arts (ICA), London. Its central work, The Finesse, a newly commissioned video work, is projected onto a mirror, and facing it is another screen showing slow-panning footage from a forest planted by the Tamil Tigers. Sandwiched in between the two are the viewers, collapsing three image-situations into one. The video itself is based partly on early 1990s archive footage featuring a member of the group who speaks with other-worldly eloquence about the Western fictions of democracy and freedom. A democracy should allow us to choose between different systems, she says, but in the West, there is only one. Her wit and charisma are of a type made for political influencing; her TikTok would be irresistible—and this, partly, is what the work is about. 

The narrative of Tamil Eelam’s independence movement (a proposed autonomous Tamil state that the Tamil Tigers were fighting for) is neatly slotted into the context of the media spectacle of OJ Simpson’s trial, which took place at the same time—so neatly that I am not sure which parts of the film are authentic, and which not. It is not so difficult to manufacture a VHS grain, recreate an old Yahoo search, nor, it turns out, render a deepfake of Kim Kardashian, who appears in The Finesse, though slower, more immovable, and perfectly mesmerizing. With the same eloquence as the young Tamil, and with reference both to her Armenian roots, and, indirectly, to her early adjacency to the media vertigo of the Simpson trial, Kardashian’s avatar argues that certain people are less prone to believe in the fictions of capitalist hegemony. Certain circumstances—such as that of the Tamils in Sri Lanka, we can infer—require you to be more realistic when it comes to how stories are fabricated as truth in newsrooms and on the internet.

Christopher Kulendran Thomas The Finesse (2022) in collaboration with Annika Kuhlmann. Installation view of the exhibition Christopher Kulendran Thomas. “Another World”
at KW Institute for Contemporary Art, Berlin
2022. Photo: Frank Sperling

In another segment of The Finesse, contemporary recordings follow another young Tamil investing in the legacy of the once-imagined Eelam state, now more than ten years lost. But the possibility of that history and its politics to become wearable as an identity for the young woman in the present is put into relief by a phone call she gets from an older friend or relative. It was a fantasy we had, says the voice on the other end of the line, who questions what it is that the younger generation expects to get out of identifying with it now. And the viewer— themselves caught inside the projection—wonders too.

It is through such sober, whip-smart interjections that Kuhlmann and Kulendran Thomas consistently install self-consciousness into their narrative while smugly escaping the dangers of romanticism. What I like about the work is that it does not allow us to take its politics at face value; rather, it is laced with an irony that has generally not been tolerated in the art world since the DIS-curated Berlin Biennial in 2016 (where Kulendran Thomas also participated). There is a critical tension without which we would risk collapsing into the neo-essentialisms of post-truth. Eloquence, charisma, and charm, too, are art forms, which each cease to function as modes of manipulation once we accept them as such. In parallel, the extent to which these conversations and monologues are scripted, made deepfake, or not, likewise loses importance.

Upstairs, Being Human, a video work from 2019, is screened on a translucent wall, dissecting the space. The rooms on either side of it are lined with the abstract paintings, which, it turns out, are generated by AI and executed by Kulendran Thomas’s studio, as are their sculptural counterparts. Climaxing like a pop song, the screen occasionally lights up to reveal the other side of the room. Art and modernism are part of the same ideological image circuit as Kardashian and Taylor Swift (whose deepfake reflects on the possibility of authenticity in Being Human) and the propaganda machines that would render the Tamil Tigers terrorist insurrectionists, or not. The theoretical implication is that we are completely immersed in the simulacrum, but it is also plain beautiful; as an experience, enchanting.

Christopher Kulendran Thomas The Finesse (2022) in collaboration with Annika Kuhlmann. Installation view of the exhibition Christopher Kulendran Thomas. “Another World”
at KW Institute for Contemporary Art, Berlin
2022. Photo: Frank Sperling

In The New York Times, critic Travis Diehl wrote about the London-chapter of the exhibition, a mirror of the KW show. “If Kulendran Thomas genuinely aims to offer new political possibilities, count me as a skeptic. If his goal is to ruin contemporary art, he just might,” he says. Here, Diehl refers to the zombie abstraction that is part of the installation of Being Human, and, perhaps, to the generally unplaceable morality of the tone. But this is far from a threat to contemporary art. Rather, after a summer where structure, relational aesthetics, and good intentions stood in for artworks at ruangrupa’s Documenta 15, “Another World” retains a medial self-consciousness that presents a hopeful glimpse for its future. The element of spectacle in both works—The Finesse peaks in an exhilarating rave scene—might have come across as cheap in its pop appeal, but it is precisely this hint of cynicism that makes both works at once disturbing and intelligent.

In recent years, the discourse around politics and art has seen a loss of distinction between the sphere of representation and reality, taking, for instance, images for actions, depictions, or reflections on violence as that violence itself. But “Another World” does not let reality become subsumed by its image; instead, it asks the audience to continually observe the line between the two, even as it blurs. And the experience of sitting inside of Kuhlmann and Kulendran Thomas’s infinity mirror, oddly, makes you quite sure of what parts of reality that survive the spectacle of media and what truth rises to the surface of a deepfake. There is so much, in fact: the intelligence and humanity of the protagonists (real or not); the pleasure and fun of imagining another world, and in being surrounded by images of it; how political dreams and artful fictions can overlap in certain moments, and in others, crucially, diverge. And while you may not be able to spot the difference, you will feel it.

“Another World” is on view through January 22, 2023, at the Institute for Contemporary Arts, London, and through January 15, 2023, at KW Institute for Contemporary Art, Berlin.

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Shop the Show: Galerie Lelong’s Miami Pop-Up Shows a Shifting Set of Global Artists


Every month, hundreds of galleries showcase new exhibitions on the Midnight Publishing Group Gallery Network—and every week, we shine a spotlight on the exhibitions we think you should see. Check out what we have in store, and inquire more with one simple click.

What You Need to Know: Galerie Lelong, a longtime Art Basel Miami Beach exhibitor, has opened a winter outpost in the Miami Design District through January 2022. There, the gallery is presenting “Common Borders,” a rotating group exhibition of gallery artists including Etel Adnan, Petah Coyne, Leonardo Drew, Ficre Ghebreyesus, Alfredo Jaar, Samuel Levi Jones, Ana Mendieta, Hélio Oiticica, Jaume Plensa, Zilia Sánchez, Tariku Shiferaw, Nancy Spero, Michelle Stuart, Antoni Tápies, and Juan Uslé.

Why We Like It: “Common Borders” brings together historical and contemporary works that expand upon the gallery’s longstanding commitment to artists from Latin America and the Global South. The works in the exhibition are meant to reflect on the shared experiences between individuals through ancestry, language, cultural traditions, and spiritual practices. Taking an almost ecumenical approach to identity, the exhibition attempts to transcend the concept of physical borders that so often inform our understanding of identity. The Lelong gallery outpost has some good neighbors, too: Goodman Gallery and Mitchell-Innes and Nash also have locations in Paradise Plaza, and all three galleries are collaborating on public programming. 

What the Gallery Says: “Within the U.S., Miami has been and continues to grow as a diverse community, coalescing stories and traditions from around the world. The selection of works by the international and multi-generational artists in the program invites the Miami community to reflect and discuss themes of identity and borders that continue to speak to our social histories,” wrote Mary Sabbatino, vice president of Galerie Lelong.

Browse works from the exhibition below.

 

Ana Mendieta
Untitled (Facial Hair Transplants) (1972–79)
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Ana Mendieta, Untitled (Facial Hair Transplants) (1972–1979). Courtesy of Galerie Lelong & Co.

Ana Mendieta, Untitled (Facial Hair Transplants) (1972–1979). Courtesy of Galerie Lelong & Co.

 

Leonardo Drew
Number 312 (2021)
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Leonardo Drew, Number 312 (2021). Courtesy of Galerie Lelong & Co.

Leonardo Drew, Number 312 (2021). Courtesy of Galerie Lelong & Co.

 

Alfredo Jaar
A Logo for America (1987-2014)
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Alfredo Jaar, A Logo for America (1987-2014) (2016). Courtesy of Galerie Lelong & Co.

Alfredo Jaar, A Logo for America (1987-2014) (2016). Courtesy of Galerie Lelong & Co.

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Here Are the 14 U.S. Museum Shows That Matter This Fall, From a Survey of 21st-Century Feminisms in Berkeley to a Radical Art Rediscovery in Atlanta


As museums begin to reopen in the United States, we cast an eye over upcoming exhibitions for those that promise the most urgent and notable art of our time. The resulting list contains a diverse roster of 14 shows—by solo practitioners and groups chosen by keen-eyed curators—coming to museums from coast to coast.

Some exhibitions will introduce you to artists you may not know, like Bani Abidi at the MCA Chicago, Michaela Eichwald at the Walker Art Center, and Nellie Mae Rowe at the High Museum. Others will offer new insight into artists or eras of artistic production you thought you knew, from a spotlight on Georgia O’Keeffe’s photography in Houston to a sweeping feminist art survey in Berkeley. 

Regardless of what city you’re in, this fall’s season of museum programming is bound to open both eyes and minds.

 

“New Time: Art and Feminisms in the 21st Century”
Berkeley Art Museum and Pacific Film Archive (BAMPFA)
August 28, 2021–January 30, 2022

Farah Al Qasimi, It’s Not Easy Being Seen 3 (2016). Courtesy the artist; The Third Line, Dubai; and Helena Anrather.

With 140 works by 76 artists and collectives, this exhibition at the U.C. Berkeley Art Museum and Pacific Film Archive is one of the largest to date on contemporary feminist art, and will coincide with a year of public programming focused on feminist theory. Works by the likes of Laura Aguilar, Christina Quarles, Zanele Muholi, Wu Tsang, and Francesca Woodman are included, tackling such topics as the fragmented body, domesticity, female anger, and feminist utopias. 

 

“Raúl de Nieves: The Treasure House of Memory”
Institute of Contemporary Art, Boston
September 1, 2021–July 24, 2022

Raúl de Nieves, The Fable, which is composed of wonders, moves the more (2021). © Raúl de Nieves.

Multidisciplinary artist Raúl de Nieves is adored for his exuberant works that blend queer club culture, religious iconography, and folklore traditions from his native Mexico. Here, the artist continues his ongoing exploration of his culture and its traditions through a new body of work, created especially for the ICA, that looks at memory and personal transformation.

“Really Free: The Radical Art of Nellie Mae Rowe”
High Museum of Art, Atlanta
September 3, 2021–January 9, 2022 

Nellie Mae Rowe, This World is Not My Home (1979). Photo courtesy of the High Museum of Art, Atlanta.

Born in Georgia in 1900, the daughter of a formerly enslaved man, Rowe achieved fame as a self-taught folk artist. The first major exhibition devoted to Rowe in more than 20 years celebrates the late artist’s notable drawing career, which was only fostered later in her life, after the deaths of her husband and employer, in the 1960s. The museum bills the show as the first to position Rowe’s creative pursuit as a “radical act of self-expression and liberation in the post-civil rights-era South.”

 

Joan Mitchell
San Francisco Museum of Modern Art
September 4, 2021–January 17, 2022

Joan Mitchell, Untitled (1992). Courtesy of Cheim & Read, New York.

This highly anticipated retrospective devoted to the queen of gestural abstraction contains over 80 works, encompassing everything from early paintings and drawings, sketchbooks, letters, and photographs to the large, color-drenched, multi-panel works that defined her later output.  

 

“Selena Forever/Siempre Selena”
Crystal Bridges Museum of American Art, Bentonville, Arkansas
September 4, 2021–January 10, 2022

John Dyer, Selena (1992). Courtesy of the artist.

At the height of the beloved Tejano singer’s fame, it was photographer John Dyer whom she entrusted to produce the images of her that were seared into the American pop-culture consciousness. Over the course of two collaborative photoshoots, in 1992 and ‘94, Dyer captured the legendary Selena Quintanilla-Pérez in her signature gemmed bustier and red lip, pictures that became immortal after her tragic death in 1995.

 

“Bani Abidi: The Man Who Talked Until He Disappeared”
Museum of Contemporary Art, Chicago
September 4, 2021–June 5, 2022

Bani Abidi, An Unforeseen Situation 4. Courtesy of the Museum of Contemporary Art, Chicago.

Bani Abidi’s work infuses deadly serious subjects like militarism, nationalism, and memory with humor, holding up a mirror to power structures. The Pakistani artist, who lives in Karachi and Berlin, gets the survey treatment at the MCA, co-organized with the Sharjah Art Foundation, in a show that looks at over 20 years of her career and features new work alongside existing video, photography, and sound installations. 

 

“Adam Pendleton: Who Is Queen?”
Museum of Modern Art, New York
September 18, 2021–January 30, 2022

Adam Pendleton, Untitled (WE ARE NOT) (2021). Image courtesy of the artist.

Pendleton, who has put forth a “Black Dada” framework inspired by Amiri Baraka, ambitiously takes over MoMA’s Marron Atrium with an immersive floor-to-ceiling installation described as a “spatial collage” containing text, image, and sound. All together, the show’s paintings, drawings, textiles, sculptures, and moving images seek to disrupt the 1:1 relationship of words and images, allowing a complex new vision of Blackness to emerge in abstraction.

“Barbara Kruger: THINKING OF YOU. I MEAN ME. I MEAN YOU.”
The Art Institute of Chicago
September 19, 2021–January 24, 2022

Barbara Kruger’s Untitled (Your Body is a Battleground) (1989), at the Los Angeles County Museum of Art in 2013. Photo by Susan Broman via Flickr.

The prolific Pictures Generation artist has collaborated with the Art Institute to map out a survey of her entire career that takes up the whole of the museum’s 18,000-square-foot gallery space. It’s all here, and squirm-inducingly relevant: her trademark “pasteups,” works on vinyl, animations, and video installations, plus a new site-specific work in the adjoining atrium. On top of this, Kruger has created work for the city at large, making billboards and designs for the Chicago Transit Authority, among other organizations.

 

“Naudline Pierre: What Could Be Has Not Yet Appeared”
Dallas Museum of Art
September 26, 2021–May 15, 2022

Naudline Pierre, Lest You Fall (2019). Courtesy of the Dallas Museum of Art.

Pierre is known for her colorful canvases that depict ethereal beings and explore power struggles in intimate relationships. The Brooklyn-based painter’s first solo museum exhibition will consist of existing works—one of which was recently acquired by the DMA—as well as new creations, with five major paintings making their debut. 

 

“Greater New York”
MoMA PS1, New York
October 7, 2021–April 18, 2022

Robin Graubard, selection from “Peripheral Vision” (1979–2021). Image courtesy the artist and Office Baroque, Antwerp.

One of the hottest survey exhibitions of new art from across New York’s five boroughs is back for its fifth iteration. This latest edition, curated by Ruba Katrib with Serubiri Moses, Kate Fowle, and Inés Katzenstein, was delayed by a year due to the pandemic, but still promises to showcase the best of artists and collectives currently working in the Big Apple, including Carolyn Lazard, Alan Michelson, and BlackMass publishing.

“Georgia O’Keeffe, Photographer”
Museum of Fine Arts, Houston
October 17, 2021–January 17, 2022

Georgia O’Keeffe, Jimsonweed (Datura stramonium) (1964–68). © Georgia O’Keeffe Museum, Santa Fe.

The artist best known for her paintings of flowers and Southwestern landscapes is recast here in the first exhibition to focus entirely on her photography, with nearly 100 prints from a newly examined archive to go on view. Described as a “Modernist approach” to the art form, O’Keeffe’s pictures document family members, fellow artists, and her travels. 

 

“Soft Water Hard Stone”
The New Museum, New York
October 28, 2021–January 23, 2022

Amalie Smith, Clay Theory (2019) (still). Courtesy of the artist.

The latest triennial from the downtown institution draws its title from a Brazilian proverb: “Água mole em pedra dura, tanto bate até que fura,” meaning “soft water on hard stone hits until it bores a hole.” Curators Margot Norton and Jamillah James have translated this idea into an exhibition of 41 international artists focused on how systems we once considered infallible have been, in fact, proven fragile by recent global crises. 

 

My Barbarian
Whitney Museum of American Art, New York
October 29, 2021–February 27, 2022

My Barbarian, Broke People’s Baroque Peoples’ Theater, 2011–15. Studio photograph, courtesy of the artists.

For the occasion of the performance trio’s 20th anniversary, the Whitney has commissioned a new filmic piece, Rose Bird, about California’s first female chief Supreme Court justice, to accompany this two-part survey of My Barbarian’s work. A series of live events—including a play, a festival, a cabaret-style concert, and a “rehearsal-as-performance”―will be enacted alongside an exhibition containing footage of previous performances, in addition to sculptures, paintings, drawings, masks, and puppets.

Michaela Eichwald
Walker Art Center, Minneapolis
November 14, 2020–May 16, 2021

Michaela Eichwald, Die Unsrigen sind fortgezogen (The Ours Have Moved Away) (2014). Collection Brian Pietsch and Christopher Hermann.

The Berlin-based artist and writer, who is primarily a painter, marks her first solo exhibition in the United States with a presentation looking back at the past ten years of her career. Her palimpsest-like paintings, sculptures, and collages contain surprising materials like candy and chicken bones, and often allude to her interests in philosophy and literature.

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A New Book on Barkley Hendricks Shows How the Artist ‘Made Everyone Feel Like a Photographer’s Model’—See Images Here


The late artist Barkley L. Hendricks was best known as a painter, often capturing the swagger and gravitas of everyday Black people. He set full-length portraits of figures against monochromatic backgrounds so that both the person’s expression and their clothing and accessories were on full display. The paintings are as much a documentation of changing sartorial trends as they are snapshots of people.

An immensely popular traveling exhibition “Barkley L. Hendricks: Birth of the Cool” helped cement the artist’s legacy within the art-historical canon, but most only know him as a painter. In a new book published by SKIRA and Jack Shainman Gallery, which represents the artist’s estate, Hendricks is revealed as a prolific and impressive photographer, too.

“It was through photography that Barkley L. Hendricks got out into the world,” writes Anna Arabindan-Kesson, assistant professor of African American and Black diasporic art at Princeton University, in the foreword to the book. Armed with what he referred to as his “mechanical sketchbook,” Hendricks took in the world through his lens, often using photographs he took of particularly stylish or confident-looking people on the street as the basis for his portraits.

Arabindan-Kesson, who knows from personal experience, notes that Hendricks “made everyone feel like a photographer’s model,” a sentiment that comes through in the faces of his subjects, who are often captured beaming and strutting.

Barkley L. Hendricks, Untitled (1986). Courtesy of the artist’s estate and Jack Shainman Gallery.

Barkley didn’t only photograph people, though. As a student at Yale University’s MFA program, he took classes from Walker Evans and Tom Brown and learned all about the mechanics of the art form. In some works he homes in on shadows and textures, sometimes he was in pure documentation-mode, as in shots of Anita Hill appearing on TV in the 1990s, or of a particularly incongruent handmade yard sale sign with a Confederate flag taped to it.

The book features more than 60 photographs taken between 1965 and 2004, and is the fourth in a five-volume series dedicated to the artist’s life and career, organized by his widow along with Jack Shainman. The other editions include Works on Paper, Landscape Paintings, and Basketball. 

 

Barkley L. Hendricks: Photography ($25) is published by SKIRA and Jack Shainman Gallery. See images from the book, below.

Barkley L. Hendricks, <i>Untitled</i> (1974). Courtesy of the artist’s estate and Jack Shainman Gallery.

Barkley L. Hendricks, Untitled (1974). Courtesy of the artist’s estate and Jack Shainman Gallery.

Barkley L. Hendricks, <i>Untitled</i> (n.d.). Courtesy of the artist’s estate and Jack Shainman Gallery.

Barkley L. Hendricks, Untitled (n.d.). Courtesy of the artist’s estate and Jack Shainman Gallery.

Barkley L. Hendricks, <i>Untitled</i> (1982). Courtesy of the artist’s estate and Jack Shainman Gallery.

Barkley L. Hendricks, Untitled (1982). Courtesy of the artist’s estate and Jack Shainman Gallery.

Barkley L. Hendricks, <i>Untitled</i> (1989). Courtesy of the artist’s estate and Jack Shainman Gallery.

Barkley L. Hendricks, Untitled (1989). Courtesy of the artist’s estate and Jack Shainman Gallery.

Barkley L. Hendricks, <i>Untitled</i> (1977). Courtesy of the artist’s estate and Jack Shainman Gallery.

Barkley L. Hendricks, Untitled (1977). Courtesy of the artist’s estate and Jack Shainman Gallery.

Barkley L. Hendricks, <i>Untitled</i> (1983). Courtesy of the artist’s estate and Jack Shainman Gallery.

Barkley L. Hendricks, Untitled (1983). Courtesy of the artist’s estate and Jack Shainman Gallery.

Barkley L. Hendricks, <i>Untitled</i> (1992). Courtesy of the artist’s estate and Jack Shainman Gallery.

Barkley L. Hendricks, Untitled (1992). Courtesy of the artist’s estate and Jack Shainman Gallery.

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