Demetrius Oliver, Till, 2003/2005, digital color photograph, 27 1/4 x 36 1/4".


The Studio Museum in Harlem

MOST PEOPLE will view “Frequency,” a survey of thirty-five emerging black artists, as a direct successor to the Studio Museum’s landmark 2001 group show, “Freestyle.” After all, there are numerous echoes between the two—the presiding curatorial team of Thelma Golden and Christine Y. Kim, the formats of the exhibition and its catalogue, the linguistic interplay of the titles. Golden and Kim themselves spend much of their introductory dialogue in the “Frequency” catalogue reading their current show through the previous one, particularly vis-à-vis the notion of a “post-black” artistic sensibility, the coinage Golden famously proposed to describe the curatorial approach governing her choices then, as here.

Yet for all the similarities, the Studio Museum itself seems somewhat ambivalent about explicitly linking the two shows; witness the introductory wall text, which lauds the achievements of

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