The New Yorker
2022-05-04
...Of all the works on display, the most moving, to me, evoked collectives—in work and migration, resistance and celebration. Near the end, I lingered by Daniel Lind-Ramos’s “Figura de Poder,” (2016-2020), a towering masquerade figure assembled from maracas, boxing gloves, and other bric-a-brac, which brashly embodies the city of Loíza, in Puerto Rico....
Zanele Muholi’s self-portrait “Ntozakhe II, (Parktown),” rear center, overlooks a room in the National Gallery’s “Afro-Atlantic Histories” exhibit.Photograph courtesy National Museum of Art
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