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<\/strong><\/p>\n Caribbean Transitions <\/strong><\/a>American University Museum at the Katzen Arts Center, Washington D.C., 2022<\/p>\n “Ralph Arnold and a Tale of Two Chicagos”<\/a><\/strong> Museum of Contemporary Photography, Chicago, 2018<\/p>\n The Abstract Originality of Norman Lewis<\/a>,<\/strong> 2015<\/p>\n Magical Visions<\/a><\/strong>, 2012<\/p>\n Shanghai Biennale<\/a><\/strong>, 2008<\/p>\n The Unobtrusive brush of Graham Davis<\/a><\/strong>, 2008<\/p>\n Ceremony in Space, Time and Sound<\/a><\/strong>,\u00a0National Gallery of Art, Jamaica, 2008<\/p>\n Pin-pricked Deities: The Art of Joyce Scott<\/a><\/strong>,\u00a0Kickin\u2019 It with the Old Masters,\u00a0Baltimore Museum of Art,\u00a02000<\/p>\n Getty Conservation Institute<\/strong><\/a>, 1999<\/p>\n African American Visual Aesthetics, A POSTMODERNIST VIEW<\/a><\/strong>, 1996<\/p>\n “Questioning the Quality Canon”<\/strong><\/a>,<\/strong> New Art Examiner, October 1990<\/p>\n On Gauguin, 1988<\/a><\/strong>, 1988<\/p>\n Art in Washington and Its Afro-American Presence: 1940-1970<\/a><\/strong>, 1985<\/p>\n R.B. Kitaj at the Hirsh Horn: The Sword of Don \u201cQuicksote\u201d<\/a><\/strong>, 1981<\/p>\n The Emerging Importance of Black Art in America<\/a><\/strong>, 1980<\/p>\n Art Criticism: A Pan-African Point of View<\/a><\/strong>, New Art Examiner, 1979<\/p>\n Interview with Sam Gilliam<\/a><\/strong>, New Art Examiner, 1977<\/p>\n \u201cJacob Lawrence\u2019s Toussaint L\u2019Ouverture\u201d, <\/strong><\/a>1971<\/p>\n “Black Experience”<\/strong><\/a>,<\/strong> Bergman Gallery, University of Chicago, 1969<\/p>\n