The irony of “African” Dutch wax cloth is that:

Black humor has historically served as a survival strategy under oppression.

Shonibare’s “Refugee Astronaut” is depicted as:

“Globe Children” uses Victorian-dressed children to comment on:

Adams’s work blends levity with socio-political critique, linking joy and resistance.

Yinka Shonibare’s signature use of “Dutch wax” fabric explores:

In the Ebony photos, MLK was shown mostly:

Renee Cox’s Liberation of Aunt Jemima and Uncle B portrays them as superheroes freed from product boxes.

Faith Ringgold is credited with reviving which art form in the late 1970s?

The Where We At exhibition emphasized community connection by: