Special Section Spring 2021 (7.1) The Confederate Flag in the Capitol and the Future of Artistic Expression Amy Werbel
Book Review Fall 2020 (6.2) Stick to the Skin: African American and Black British Art, 1965–2015 Reviewed by Ellen Tani
Exhibition Review Fall 2020 (6.2) Follies: Architectural Whimsy in the Garden and Mark Dion: Follies Reviewed by Kerry Dean Carso
Exhibition Review Fall 2020 (6.2) The Levee: A Photographer in the American South Reviewed by Theresa Leininger-Miller
In the Round Spring 2020 (6.1) Unenslaved through Art: Rice Culture Paintings by Jonathan Green Rachel C. Kirby
Feature Article Fall 2019 (5.2) Mikva Dreams: Judaism, Feminism, and Maintenance in the Art of Mierle Laderman Ukeles David Sperber
In the Round Spring 2019 (5.1) Walk with Me: William Anastasi’s Stenography of the Street Katie Anania
Exhibition Review Fall 2018 (4.2) Howardena Pindell: What Remains To Be Seen Reviewed by Andrea Douglas
Exhibition Review Fall 2018 (4.2) Faith Ringgold: Paintings and Story Quilts, 1964–2017 Reviewed by Debra Hanson
Bully Pulpit Fall 2018 (4.2) Karen Kramer, Curator of Native American and Oceanic Art and Culture and Director of the Native American Fellowship Program, Peabody Essex Museum Karen Kramer
In the Round Spring 2018 (4.1) Introduction: Riff: African American Artists and the European Canon Adrienne L. Childs
In the Round Spring 2018 (4.1) The Wandering Gaze of Carrie Mae Weems’s The Louisiana Project Gwendolyn DuBois Shaw
In the Round Spring 2018 (4.1) Vibrations in the Soul: Moe Brooker’s Sacred Paintings Nikki A. Greene
Exhibition Review Spring 2018 (4.1) California Mexicana, Myth and Mirage, and Found in Translation Reviewed by Patrick Frank
Exhibition Review Spring 2018 (4.1) Judithe Hernández and Patssi Valdez: One Path Two Journeys and Laura Aguilar: Show and Tell Reviewed by Charlene Villaseñor Black
Exhibition Review Spring 2018 (4.1) Painted in Mexico, Visual Voyages: Images of Latin American Nature, and Modern Masters from Latin America Reviewed by Anna O. Marley
Exhibition Review Spring 2018 (4.1) Transpacific Borderlands: The Art of Japanese Diaspora in Lima, Los Angeles, Mexico City, and São Paulo Reviewed by Marco Katz Montiel
Book Review Spring 2018 (4.1) Asking the Audience: Participatory Art in 1980s New York Reviewed by Johanna Gosse
Book Review Spring 2018 (4.1) Southern Accent: Seeking the American South in Contemporary Art Reviewed by Jennifer Jankauskas
Feature Article Fall 2017 (3.2) City, River, Mountain: Wayne Thiebaud’s California Margaretta M. Lovell
Book Review Fall 2017 (3.2) Consuming Stories: Kara Walker and the Imagining of American Race Reviewed by Vivien Green Fryd
Exhibition Review Fall 2017 (3.2) We Wanted a Revolution: Black Radical Women, 1965–85 Reviewed by Kim Bobier
Exhibition Review Summer 2017 (3.1) Post Black Folk Art in America 1930–1980–2016 Reviewed by Elaine Y. Yau
Exhibition Review Fall 2016 (2.2) Open Plan: The Whitney Museum’s Arts of Time and Space Reviewed by John A. Tyson
Exhibition Review Fall 2016 (2.2) Leap Before You Look: Black Mountain College 1933–1957 Reviewed by Virginia Reynolds Badgett
Feature Article Summer 2016 (2.1) Kara Walker’s About the title: The Ghostly Presence of Transgenerational Trauma as a “Connective Tissue” Between the Past and Present Vivien Green Fryd
