What is white, as a shade, a concept, an identity? Too often, binary ideas cloud deeper investigations into the historical construction of whiteness as a race. In this group exhibition, curators Lillian O’Brien Davis and John G. Hampton explored connections between the political myth of whiteness that developed alongside the dispossession of Black and Indigenous people and the aesthetic and philosophical significance of white in art. Tightly organized yet covering a broad swath of time, “Conceptions of White” began fittingly with Robert Morris’s white-latex-on-aluminum Portal, 1964, which served