TABLE OF CONTENTS

Lanka Tattersall

Adrian Piper, LSD Self-Portrait from the Inside Out, 1966, acrylic on canvas, 40 × 30".
 

1 ADRIAN PIPER (MUSEUM OF MODERN ART, NEW YORK; CURATED BY CHRISTOPHE CHERIX, CONNIE BUTLER, AND DAVID PLATZKER WITH TESSA FERREYROS) Surveying the conceptual rigor that Piper applies to her minefield-slash-universe of work gave me a huge dose of critical pleasure. Moving from her acid-inflected paintings of the 1960s to the swaggering and incisive Mythic Being (a male persona Piper adopted in the ’70s), and continuing through decades of her meticulous and uncompromising analyses of race and power, I was reminded to question my assumptions, and to embrace—to dance with—complex and sometimes uncomfortable political and cultural positions.

LaToya Ruby Frazier’s portrait of Simone Landrum at home with her sons, Dillon (left) and Caden, during her pregnancy, November 2017.

2 LINDA VILLAROSA, “WHY AMERICA’S BLACK MOTHERS AND BABIES ARE IN A LIFE- OR-DEATH CRISIS,” WITH PHOTOGRAPHS BY LATOYA RUBY FRAZIER (NEW YORK TIMES MAGAZINE, APRIL 11) An unsettling, urgent, and deeply instructive piece of

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