These artists were being placed in a conversation with Minimalism almost from its inception, and their inclusion in «Others» is characteristic of the post-colonial
turn to recognise artists whose significance to certain
cultural narratives was previously overlooked because of national affiliation; again, this is the same principle at work as in Part I.
Standouts include Carrie Mae Weems» holographic
narrative about race, sex, and politics portrayed by ghostly characters on a burlesque stage; The Propeller Group's video that draws parallels between funeral practices in Vietnam and New Orleans, along with the collective's sculptures of tricked - out musical instruments, which were also photographed with members of Louisiana marching bands; Glenn Kaino's installation of water tanks that
turn military machines into coral reefs; Jean - Michel Basquiat's paintings and works on paper that reference the
cultural legacy of the Mississippi Delta and the South; Camille Henrot's video exploration of the universe by way of the storage rooms of the Smithsonian Institution; Tavares Strachan's 100 - foot long neon sign declaring «You belong here» from a barge on the Mississippi River; and Andrea Fraser's monologue, in which she recreated a heated debate by New Orleans city council members during a 1991 vote to racially integrate the Mardi Gras krewes — changing her voice and expression as she dynamically alternated between speakers, both black and white.