The past several years have brought a succession of major exhibitions by Black artists who came to prominence in the late 1960s and whom the institutional art world has finally begun to properly recognize. Like many of her peers, Faith Ringgold, raised during the Harlem Renaissance, was denied fine-arts training and initially found her footing as a public-school educator. Yet she continued painting all the same, producing figurative works—with faces contoured in sinuous blues, a recurring motif throughout her career—that suggested the uneasy dualities between our inner and outer selves. As the