In the catalogue for «
Radical Presence: Black Performance in
Contemporary Art,» currently at NYU's Grey Art Gallery, curator Naomi Beckwith describes Mythic Being as «a seminal work of self - fashioning that both posited and
critiqued models of gender and racial subjectivity.»
Obviously, the answer is different for each artist and each context, but one can usefully ask whether the intervention represents an homage, or a
critique of the context; whether the
contemporary work points to continuities of concern or
radical disjunctures, that in turn produce new understandings of both the historical and the
contemporary.