As I said before, the
modern - day «biblical
womanhood» movement as expressed
by complementarianism, has its roots, not in the ancient near Eastern culture in which the Bible was written, but in the pre-feminist American culture.
Current projects include In the Shadow of the Negress: A Brief History of
Modern Artistic Practice, which explores the constitutive role played
by fictions of black
womanhood in Western art from the late - eighteenth century to the present, and a companion volume — tentatively entitled Touched
by the Mother: Contemporary Artists, Black Masculinities, and the Ends of the American Century — that brings together many of his new and previously published critical essays.
Select group exhibitions and biennials featuring her work include Making & Unmaking, Camden Arts Centre, London (2016); Human Interest: Portraits from the Whitney's Collection, Whitney Museum of
Modern Art, New York (2016); Surrealist: The Conjured Life, Museum of Contemporary Art, Chicago (2015); Picasso & Contemporary Art, Le Grand Palais, Paris (2015); Divine Comedy: Heaven, Purgatory and Hell Revisited
by Contemporary African Artists, Museum für Moderne Kunst, Frankfurt am Main, Germany, traveled to Savannah College of Art and Design Museum of Art, GA, and the National Museum of African Art at the Smithsonian Institution, Washington, DC (2014); The Shadows Took Shape, Studio Museum in Harlem, New York (2013); Exquisite Corpses: Drawing and Disfiguration, The Museum of
Modern Art, New York (2013); The Luminous Interval, Guggenheim Bilbao, Spain (2011); The Spectacle of the Everyday, and Black
Womanhood, San Diego Museum of Art, CA (2009).