This series flourished in the 1980s, introducing our audiences to emerging artists such as Jenny Holzer and Hiroshi Sugimoto, many of whom would go on to great prominence.
- Howardena Pindell: What Remains To Be Seen–
- Long The frame is filled with dozens of small, circular cutouts that create a textured landscape. The cutouts, which resemble hole punches, are layered on the surface in seeming chaos and affixed by thick layers of paint, though some seem to float above the surface to create slight shadows. The paint is the color of a pale beige skin tone but streaks of sky blue and orange and even specks of near-black appear lightly scattered across the surface.
- Long A cat skeleton stands two-stories-tall and ready to pounce, with its spine arched, tailbone on end, and fanged mouth hanging open. It is poised on all fours in the middle of a dimly lit, blue-tinged large gallery space and its white form is dramatically illuminated as if caught in the night.
- Tania Pérez Córdova: Smoke, nearby–
- Long A sheet of hard glass is folded over and bent in two as if it were a plastic bag. A smoking stick rests between the green lips that comprise the edges of the glass. A dark circular shadow dominates the area to the right of the glass, a stark contrast to the white background.
- Diana Thater: The Sympathetic Imagination–
- Long A view of a spacious gallery that is dark magenta and lit by blue video projections. Three videos of dolphins swimming in the water are projected on the walls and floor from suspended projectors, creating the impression that the viewer is swimming below and looking up at the dolphins. A fourth projection on the floor shows the silhouette of an ambiguous person swimming in scuba gear.
- Kerry James Marshall: Mastry–
- Long This painted portrait depicts a young woman with jet-black skin holding a long, thin paintbrush up to a colorful, messy painter’s palette. She is shown in a three-quarter pose, gazing directly at the viewer. Her face, which is central to the square composition, stands out against a large, white, canvas, almost blending into the pitch-black background to her right. Closer inspection reveals, however, that her skin is subtly rendered, with various shades of contours and highlights. She wears two large hoop earrings, three small hoop earrings, and an oversized, boxy, high-collared jacket made of stiff fabric. Her voluminous hair—black with an ochre sheen—rises in thick coils on top of her head. The canvas to her left shows a partly finished paint-by-number self-portrait; in it, her likeness is broken up into smaller segments with pale-blue outlines and numbers. She has outlined many of the segments and filled them in with colors from her palette: orange, blue, yellow, pink, brown, and a few shades of green. The paint-by-number canvas does not accurately represent the color and pattern of the jacket she wears, which features mustard yellow sleeves and collar and deep blue and maroon and light yellow stripes.