The reflective surface means you can see yourself in the work, a common trope for engaging audiences and inviting them to self-conscious reflection. But the size of the work means it creates an image not just of you, but of the National Gallery as well, and that seems to be the point.
, then at the Houston Museum of Fine Arts, configured a smaller touring show, with a broader geographical focus, for Houston and the National Gallery, where she is now associate curator of African American and Afro-diasporic art.At a panel conversation on April 8, Fletcher talked about the importance of seeing this art — which includes centuries of work dating back to the colonial era, both by and about the African diaspora — not just at the National Gallery, but in the gallery’s West Building.
The walls are full of text, explaining the broad themes of the show and particular details of the works on view. We learn about quilombos, communities in Brazil that offered refuge to escaped enslaved people, including Quilombo dos Palmares, which survived nearly a century until it was suppressed by the Portuguese in 1694. And about an 18th-century slave market at New York’s Wall Street, where humans were traded for half a century before the American Revolution.
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