new-york

Paul Stephen Benjamin, God Bless America, 2016, forty-six monitors with three-channel video (color, sound, indefinite duration). Installation view, 2017. Photo: Adam Reich.

“Fictions”

The Studio Museum in Harlem

Paul Stephen Benjamin, God Bless America, 2016, forty-six monitors with three-channel video (color, sound, indefinite duration). Installation view, 2017. Photo: Adam Reich.

"FICTIONS” marked a set of endings: It was the fifth in the Studio Museum’s “F-show” series, which began with the landmark 2001 exhibition “Freestyle” (curated by Thelma Golden, the show proposed the contentious, generative term post-black), and was the last to be on view in the museum’s current home in Harlem. (A new, David Adjaye–designed building is due to open in 2021.) But the show, curated by Connie H. Choi and Hallie Ringle, was also a space for beginnings: None of the nineteen artists, all of African and Latin American descent, had previously shown at the venue, and the exhibition focused on nascent narratives.

On the museum’s basement level, Sherrill Roland’s and Sable Elyse Smith’s works faced each other in a dialogue on incarceration. Roland’s “Jumpsuit Project” began in 2016, after the artist spent ten months and two weeks in a Washington, DC, prison in a case of mistaken

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