new-york

Steffani Jemison, Maniac Chase, 2008–2009, digital video, color, sound, continuous loop. From “Fore,” 2012–13.

“Fore”

The Studio Museum in Harlem

Steffani Jemison, Maniac Chase, 2008–2009, digital video, color, sound, continuous loop. From “Fore,” 2012–13.

Intermittently over the past twelve years, the Studio Museum in Harlem has given over its galleries to large group exhibitions that survey the practices of young black artists in the United States. The first, “Freestyle” (2001), is remembered today for its coinage of the then-provocative term post-black, a descriptor proposed by the show’s curator, Thelma Golden, to encompass the heterogeneous sensibilities of African American artists of the post-civil-rights generation. That show was followed in 2005–2006 by “Frequency,” and then by “Flow,” in 2008. The latest installment, “Fore,” organized by Lauren Haynes, Naima J. Keith, and Thomas J. Lax, very much extended the thrust of Golden’s original presentation, offering a kaleidoscopic, resolutely nonthematic portrait of diverse practices, here represented by the work of twenty-nine artists.

Despite the exhibition’s wide sweep with

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