During this past summer’s groundswell of demonstrations against police brutality across the United States, Senga Nengudi was putting the final touches on her installation Sandmining B, 2020, for her solo exhibition here. Inevitably, along with Bulemia, 1988/2018, another large-scale installation in the show, the works feel marked by these historic national expressions of pain and outrage—not to mention the decades of protest that preceded them. And yet, despite so much anguish and horror, Nengudi’s show manages to be a balm—a reclamation of Black history grounded in hope for the future. Like

Bay Area artist Mildred Howard is known for her compelling assemblage sculptures and installations that mine personal memory, community histories, and diasporic movement. This small survey was a thorough and efficient overview of more than four decades of art, presenting some of Howard’s most recognizable works—including her wood-framed photo-emulsion pieces and a signature glass-bottle house, which she made this year—alongside a surprisingly fresh-looking selection of early works. Her influences are many: Among others, we see Jay DeFeo in the thick impasto surfaces of her paintings and the

Around the mid-1990s, Kevin Hanley became known for a kind of photograph that greeted its viewers as deceptively casual, seemingly captured while the artist wandered about in a state of distraction. Under prolonged scrutiny, however, its ostensibly random arrangement would begin to disclose a secret determination, every outwardly incidental element—an architectural detail, item of clothing, or personal accessory—bristling with cryptic import. In an ongoing series begun in 1995, Hanley presented these pictures at a modest scale, just above the snapshot standard, isolated against larger monochrome