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Chris Ofili

Chris Ofili, Triple Beam Dreamer, 2001–2002, acrylic, oil, leaves, glitter, polyester resin, map pins, and elephant dung on linen, 72 × 120".

CHRIS OFILI’S RECEPTION in New York has unfolded in near-mythological terms: From the infamous censorship and defacement of his work during the Brooklyn Museum’s exhibition “Sensation” (1999) to the enthusiasm for his showstopping “Afro Muses” (2005) at the Studio Museum in Harlem, the local response has embodied all the necessary repulsion, romance, and awe one might expect from a contemporary epic.

“Night and Day” is a follow-up to the artist’s 2010 retrospective at Tate Britain, and his first major survey in the US. It presents two decades of work, made up of one hundred–plus works on paper, half a dozen sculptures, and more than thirty paintings, accompanied by a catalogue with entries from artist-writers Glenn Ligon and Lynette Yiadom-Boakye and a host of other original contributions. These pieces and perspectives narrate several Ofilis: the colorist who works in restricted

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