Hancock's work has also been included in a number
of significant group exhibitions, including Juxtapoz x Superflat, curated by Takashi Murakami and Evan Pricco, Pivot Art + Culture, Seattle, WA (2016 - 17), Statements: African American Art from the Museum's Collection, Museum
of Fine Art, Houston, TX (2016), When the Stars Begin to Fall: Imagination and the American South, The Studio Museum in Harlem, New York, NY (2014),
Radical Presence: Black Performance in Contemporary Art, Contemporary Arts Museum Houston, Houston, TX (2012), The Best
of Times, The Worst
of Times: Rebirth and Apocalypse in Contemporary Art, Kiev International Biennale
of Contemporary Art, Armory, Kiev, Ukraine (2012), Wunderkammer: A Century
of Curiosities, Museum
of Modern Art, New York, NY (2008), Darger - ism: Contemporary Artists and Henry Darger, American Folk Art Museum, New York, NY (2008), Political
Nature, Whitney Museum
of American Art, New York, NY (2005), Whitney Biennial, Whitney Museum
of American Art, New York, NY (2002), Whitney Biennial, Whitney Museum
of American Art, New York, NY (2000).
These may be objects that have endured through ages or generations, the immutable remnants
of previous
times — much like the 11th - century relics found in St Carthage's Cathedral, Lismore — or simple, timeless, constants occurring in
nature in the face
of radical and dramatic changes in the world they inhabit.
Henry apparently finds that option too
radical, and therefore unrealistic (to be sure, while it would be ideal for firms to develop alternative methods
of charging for their services that eliminate the billable hour, the fact remains that law is a business and alternative methods
of billing have to make economic sense given the
nature of practice areas such as litigation where one's adversary has the power to determine how much
time one will have to spend on a case).