Through my work as an independent curator, at the Liverpool Biennial in the United Kingdom and subsequently as the director and later co-curator of the Werkleitz Biennale, I was able to explore different
approaches to artistic and cultural production and also to analyze
curatorial and
institutional models under a variety of cultural, social and economic conditions.
While this
curatorial approach was widely decried, it had the positive effect of galvanizing supporters of Black art to develop their own
institutional infrastructure to nourish Black art production and exhibition.