Untitled, 1970
Acrylic on canvas
69 x 79 1/8 inches
Howardena Pindell, 2019. Photograph by Grace Roselli.
Born in Philadelphia in 1943, Howardena Pindell studied painting at Boston University and Yale University. After graduating, she accepted a job at the Museum of Modern Art, where she worked from 1967–1979, first as Exhibition Assistant, then as Assistant Curator in the Department of National and International Traveling Exhibitions, and finally as an Associate Curator and Acting Director in the Department of Prints and Illustrated Books. The role made her the museum’s first African American curator. In 1979, Pindell began teaching at the State University of New York, Stony Brook. In 2019, the university honored her as a distinguished professor.
As one of a small group of pioneering African American abstractionists including Al Loving, Sam Gilliam, Jack Whitten, and Frank Bowling, Pindell occupied a thankless territory for decades, making work that was not explicitly about the black experience while being excluded from the overwhelmingly white institutions that dominated abstraction. The difficult experience sharpened the artist’s lifelong political and social activism.
In the early 1970s, the artist began a pivotal series of Spray Dot paintings. Pindell began spraying paint onto large canvases through hole-punched cardstock templates, subtly varying the color with each pass. The layers of vibrant dots resulted in an elaborate, sensuous interplay between background and foreground with endless fluctuations of color and light. These early paintings served as progenitors of much of her abstract work to follow: presciently, the artist saved the punched paper dots and, years later, began incorporating them into her work. In the late 1970s, Pindell began to cut and tear canvases before suturing them back together into complex patterns, building up their surfaces in stages by incorporating the punched chads onto her canvases and squeegeeing acrylic through the “stencils” left in the paper from which she had punched the dots. Pindell continues to make variations of these delicate, monumental constructions and in recent years has also revisited her Spray Dot technique.
In 1979, a car accident left the artist with acute memory loss. The crash, and her subsequent rehabilitation, literalized the metaphorical process of destruction and reconstruction at work in her paintings. Pindell had diligently collected postcards and photographs for many years preceding the accident; in the works immediately following her trauma, Pindell wove the collected images into sprawling, asymmetrical compositions in an attempt to consolidate her disjointed memories. This Autobiography series revealed an uncanny resonance between her embodied experience and her formal interests in fragmentation and integration. Dialectical patterns (like that of rupture and healing) abound in Pindell’s life and ideas: her seemingly opposed commitments to abstract and political, issue-based art; her sense of self as an African American and as a composite of many cultures and backgrounds; her affection for rationality, science, and mathematics, alongside her interest in ritual, tradition, and spirituality. Indeed, in one of her most memorable video works, Free, White, and 21 (1980), the artist simultaneously plays herself and a nay-saying white critic. While the work was rightly received as an important institutional critique foregrounding art-world racism, it also reflects the discontinuity of self that she experienced in this period.
In the following years, her work became more politically charged, addressing social issues including homelessness, AIDS, war, genocide, sexism, xenophobia, and apartheid. In the last two decades, rigorous abstraction has predominated her work; still, elements of personal and collective history and a deep political commitment is in on full display in recent installations including Hunger: The Color of Bones (2014) and Columbus (2020).
In addition to her curatorial, professorial, and artistic work, Pindell has written countless essays about racism and sexism in the art world that have been collected in volumes like The Heart of The Question (1997). She also co-founded A.I.R. Gallery in New York, the first all-female artists’ cooperative gallery in the United States. Pindell is the recipient of the College Art Association’s Distinguished Artist Award for Lifetime Achievement, the George Wittenborn Memorial Book Award from the Art Libraries Society of North America, an honorary degree from The Maryland Institute College of Art, the Artists’ Legacy Foundation’s 2019 Artist Award, and a 2019 Archives of American Art Medal from the Smithsonian Institution.
Pindell has exhibited extensively. Notable solo exhibitions include: Spelman College (1971, Atlanta), A.I.R. Gallery (1973, 1983, New York), Just Above Midtown (1977, New York), Lerner-Heller Gallery (1980, 1981, New York), The Studio Museum in Harlem (1986, New York), the Wadsworth Atheneum (1989, Hartford), Cyrus Gallery (1989, New York), G.R. N’Namdi Gallery (1992, 1995, 1996, 2000, 2002, 2006, Chicago, Detroit, and New York), Garth Greenan Gallery, New York (2014, 2017), Spelman College Museum of Fine Art, Atlanta (2015), the Museum of Contemporary Art, Chicago (2018), The Shed, New York (2021), and Fruitmarket, Edinburgh, (2022–23).
Howardena Pindell’s work has been featured in many landmark museum exhibitions, such as: Contemporary Black Artists in America (1971, Whitney Museum of American Art), Rooms (1976, P.S. 1 Contemporary Art Center), Another Generation (1979, The Studio Museum in Harlem), Afro-American Abstraction (1980, P.S.1 Contemporary Art Center), The Decade Show: Frameworks of Identity in the 1980s (1990, New Museum of Contemporary Art), and Bearing Witness: Contemporary Works by African-American Women Artists (1996, Spelman College Museum of Fine Art, Atlanta). Most recently, Pindell’s work appeared in: Energy/Experimentation: Black Artists and Abstraction, 1964–1980 (2006, The Studio Museum in Harlem), High Times, Hard Times: New York Painting, 1967–1975 (2006, Weatherspoon Art Museum, University of North Carolina, Greensboro), WACK! Art and the Feminist Revolution (2007, Museum of Contemporary Art, Los Angeles), Target Practice: Painting Under Attack, 1949–1978 (2009, Seattle Art Museum), Black in the Abstract: Part I, Epistrophy (2013, Contemporary Arts Museum, Houston), Painting 2.0: Expression in the Information Age (2015–2016, Museum Brandhorst; 2016, Museum Moderner Kunst) and We Wanted a Revolution: Black Radical Women, 1965–1985 (2017, the Brooklyn Museum, New York). In 2018, the Museum of Contemporary Art, Chicago mounted Howardena Pindell: What Remains to Be Seen, which traveled to the Virginia Museum of Fine Arts (2018) and the Rose Art Museum (2019). In 2022, she was the subject of another major exhibition, Howardena Pindell: A New Language, which opened at Fruitmarket (Edinburgh) and traveled to Kettle’s Yard (Cambridge), Spike Island (Bristol), and the Irish Museum of Modern Art (Dublin).
Pindell’s work is in the permanent collections of major museums internationally, including: the Brooklyn Museum; the Corcoran Gallery of Art; the Fogg Museum, Harvard University, Cambridge; the High Museum of Art, Atlanta; the Louisiana Museum of Modern Art, Copenhagen; the Metropolitan Museum of Art; the Museum of Contemporary Art, Chicago; the Museum of Modern Art; Museum of Fine Arts, Boston; Museum of Fine Arts, Houston; the National Gallery of Art, Washington, D.C.; Pennsylvania Academy of the Fine Arts, Philadelphia; the Philadelphia Museum of Art; The Studio Museum in Harlem; the Smithsonian Museum of American Art, Washington, D.C.; the Wadsworth Atheneum, Hartford; the Walker Art Center, Minneapolis; the Whitney Museum of American Art; and the Yale University Art Gallery, New Haven.
HOWARDENA PINDELL
Born
Philadelphia, Pennsylvania
Lives and works in New York, New York
EDUCATION
1961–1965
Boston University
1965–1967
Yale University, New Haven, Connecticut
TEACHING
1979–Present
State University of New York, Stony Brook
1995–1999
Yale University, New Haven, Connecticut
SELECTED SOLO EXHIBITIONS
1971
Paintings and Drawings by Howardena Pindell, Rockefeller Memorial Galleries, Spelman College, Atlanta, November 7–23
1973
Howardena Pindell, A.I.R. Gallery, New York
Howardena Pindell, Douglass College Art Gallery, Rutgers University, New Brunswick, New Jersey
1974
Howardena Pindell: Paintings and Drawings, Michael C. Rockefeller Arts Center, State University of New York, Fredonia
1976–1977
Howardena Pindell: Video Drawings, Henie-Onstad Kunstsenter, Høvikodden, Norway; Kunstforeningen, Copenhagen; Fyns Stiftsmuseum, Odense, Denmark; Vassar College Art Gallery, Poughkeepsie, New York; Student Union Gallery, University of Massachusetts, Amherst
1977
Howardena Pindell, Just Above Midtown, Inc., New York
1978
Howardena Pindell, Art Academy of Cincinnati, Ohio
1979
Howardena Pindell: Works on Paper, Canvas and Video Drawings, State University of New York at Stony Brook
1980
Howardena Pindell: New Works on Paper and Canvas, Lerner-Heller Gallery, New York, April 5–30
1981
Howardena Pindell: Recent Works on Canvas, Lerner-Heller Gallery, New York, April 4–29
Howardena Pindell: Recent Works on Paper, Monique Knowlton Gallery, New York, April 4–May 2
1983
Howardena Pindell, Memory Series: Japan, A.I.R. Gallery, New York, February 1–19
Howardena Pindell: Targets, Messages to the Public, Public Art Fund, New York City, New York, March 15–March 29
1985
Howardena Pindell: Traveler’s Memories, Japan, Birmingham Museum of Art, Alabama, January 20–March 17
Howardena Pindell: Traveler’s Memories, India, David Heath Gallery, Atlanta, February 5–March 2
1986
Howardena Pindell: Odyssey, The Studio Museum in Harlem, New York, February 12–June 12
Howardena Pindell, Harris-Brown Gallery, Boston
Howardena Pindell: Recent Work, Grand Rapids Art Museum, Michigan
1987
Howardena Pindell, G. R. N’Namdi Gallery, Detroit, September 25–November 7
1989
Howardena Pindell, Liz Harris Gallery, Boston, January 31–March 4; Wadsworth Atheneum, Hartford, Connecticut, March 25–June 18
Howardena Pindell: Autobiography, Cyrus Gallery, New York, October 5–November 18
1990
Howardena Pindell, Grove Gallery, State University of New York, Albany, October 11–November 30
1992
Howardena Pindell, David Heath Gallery, Atlanta
Howardena Pindell, G.R. N’Namdi Gallery, Birmingham, Michigan
1993
Howardena Pindell: A Retrospective 1972–1992, Kenkeleba Gallery, New York, June 19; Alternative Museum, June 23; Art Gallery, Georgia State University, Atlanta, July 14–August 13; Rose Art Museum, Brandeis University, Waltham, Massachusetts, November 6–December 19
1994
Howardena Pindell: A Retrospective, Cleveland Institute of Arts
1995
Howardena Pindell: Video Drawings, 1973–1995, Arting, Cologne, Germany, November 11-December 19
Howardena Pindell, G.R. N’Namdi Gallery, Birmingham, Michigan
1996
Howardena Pindell: Mixed Media on Canvas, Johnson Gallery, Bethel University, St. Paul, Minnesota, January 2–February 29
Howardena Pindell, G.R. N’Namdi Gallery, Chicago
1999
Witness to Our Time: A Decade of Work by Howardena Pindell, Heckscher Museum of Art, Huntington, New York, April 24–August 8, 1999
2000
Howardena Pindell: Collages, G.R. N’Namdi Gallery, Birmingham, Michigan
Howardena Pindell: Recent Work, G.R. N’Namdi Gallery, Chicago
2001
Howardena Pindell: An Intimate Retrospective, Harriet Tubman Museum, Macon, Georgia, March 7–April 7
2002
Howardena Pindell, Diggs Gallery, Winston-Salem State University, North Carolina
2003
Howardena Pindell, G.R. N’Namdi Gallery, Detroit
2004
Howardena Pindell: Works on Paper, 1968–2004, Sragow Gallery, New York, April 3–June 5
Howardena Pindell: Visual Affinities, Heckscher Museum of Art, Huntington, NY, May 15–June 27
2006
Howardena Pindell: In My Lifetime, G.R. N’Namdi Gallery, New York, June 3–August 31
2007
Howardena Pindell: Hidden Histories, Louisiana Art and Science Museum, Baton Rouge, January 10–April 5
2009
Howardena Pindell: Autobiography: Strips, Dots, and Video, 1974–2009, Sandler Hudson Gallery, Atlanta, October 23–November 28
2013
Howardena Pindell: Video Drawings, 1973–2007, Howard Yezerski Gallery, Boston, March 15–April 16
2014
Howardena Pindell: Paintings, 1974–1980, Garth Greenan Gallery, New York, April 10–May 17
2015
Howardena Pindell, Honor Fraser, Los Angeles, September 11–October 29, 2015
Howardena Pindell, Spelman College Museum of Fine Art, Atlanta, August 25–December 5
2017
Howardena Pindell: Recent Paintings, Garth Greenan Gallery, New York, October 26–December 16
2018
Howardena Pindell, Document Gallery, Chicago, February 24–April 7
2018–2019
Howardena Pindell: What Remains to Be Seen, Museum of Contemporary Art, Chicago, February 24–May 20, 2018; Virginia Museum of Fine Arts, Richmond, August 25–November 25, 2018; Rose Art Museum, Brandeis University, Waltham, Massachusetts, January 28–June 16, 2019
2019
Howardena Pindell, Victoria Miro, London, June 5–July 27
Howardena Pindell: Autobiography, Garth Greenan Gallery, New York, October 17–December 7
2020
Howardena Pindell, Art Omi, Ghent, New York, July 18–November 29
2020–2021
Howardena Pindell: Rope/Fire/Water, The Shed, New York, October 16, 2020–March 28, 2021
2021
Howardena Pindell: Free, White and 21, Baltimore Museum of Art, March 1–January 3
“Do Not Underestimate Our Power”: The Anti-racist Activism of Howardena Pindell, Hirsh Library, The Museum of Fine Arts Houston, March 24–July 10
Rope/Fire/Water, Oklahoma Contemporary, Oklahoma City, September 15–November 4
2021–2023
Howardena Pindell: A New Language, Fruitmarket, Edinburgh, Scotland, July 29, 2021–January 30, 2022; Kettle’s Yard, University of Cambridge, England, March 20–July 3, 2022; Spike Island, Bristol, England, February 4–May 7, 2023
2024
Howardena Pindell: Inner Space, Garth Greenan Gallery, New York, New York, October 24–December 14
2024–2025
Howardena Pindell, White Cube, Hong Kong, November 20, 2024–January 8, 2025
SELECTED GROUP EXHIBITIONS
1969
XXIII American Drawing Biennial, Norfolk Museum of Arts and Sciences, Virginia, February 2–March 9
1971
Contemporary Black Artists in America, Whitney Museum of American Art, New York, April 6–May 16
26 Contemporary Women Artists, Aldrich Museum of Contemporary Art, Ridgefield, Connecticut, April 18–June 13
1972
1972 Annual Exhibition: Contemporary American Painting, Whitney Museum of American Art, New York, January 25–March 19
A New Vitality in Art: The Black Woman, John and Norah Warbeke Gallery, Mount Holyoke College, South Hadley, Massachusetts, April 6–30
American Women Artists, Kunsthaus Hamburg, April 14–May 14
Unlikely Photography, Institute of Contemporary Arts, London, August 5–September 26
1973
Harmony Hammond and Howardena Pindell, A.I.R. Gallery, New York, January 13–31
Yngre Amerikansk Kunst: Tegninger og Grafik, Gentofte Rådhus, Copenhagen, January 24–February 11; Aarhus Kunstmuseum, Denmark, February 18–March 4; Henie-Onstad Kunstsenter, Høvikodden, Norway, March 18–April 15; Hamburger Kunsthalle, Hamburg, April 28–June 11; Moderna Museum, Stockholm, September 15–October 21
New American Graphic Art, Fogg Art Museum, Harvard University, September 12–October 28
Blacks: USA: 1973, New York Cultural Center, New York, September 26–November 15
1974
Painting and Sculpture Today, Indianapolis Museum of Art, May 22–July 14; Contemporary Art Center and Taft Museum, Cincinnati, September 12–October 26
Five American Women in Paris, Galerie Gerald Piltzer, Paris, February
Paperworks, Rosa Esman Gallery, New York
1975
Artists Make Toys, Clocktower Gallery, New York, January 1–15
Color, Image, Light, Women’s Interart Center, New York, November 13–30
Art on Paper, Weatherspoon Art Gallery, University of North Carolina, Greensboro, November 16–December 14
1975–1976
Painting, Drawing, and Sculpture of the ’60s and ’70s from the Dorothy and Herbert Vogel Collection, Institute of Contemporary Art, University of Pennsylvania, Philadelphia, October 7–November 18, 1975; Contemporary Arts Center, Cincinnati, December 17, 1975–February 15, 1976
1976
Rooms, P.S.1, Institute for Art and Urban Resources, Queens, New York, June 9–26
Project Rebuild, Grey Art Gallery & Study Center, New York University, New York, August 11–27
American Artists ’76: A Celebration, Marion Koogler McNay Art Institute, San Antonio
Photonotations, Rosa Esman Gallery, New York
Works on Paper, Monique Knowlton Gallery, New York
1976–1977
The Handmade Paper Object, Santa Barbara Museum of Art, October 29–November 28, 1976; Oakland Museum of California, December 21, 1976–February 6, 1977; Institute of Contemporary Arts, Boston, May 10–June 14, 1977
1976–1979
Herbert Distel: The Museum of Drawers, Museum der Stadt Solothurn, Switzerland, October 29–November 28, 1976; International Curatorial Centrum, Antwerp, December 18, 1976–January 9, 1977; Museum Schwäbisch Gmünd, Germany, January 23–February 20, 1977; Cooper-Hewitt Museum, New York, March 21–May 7, 1978; New Orleans Museum of Art, August 25–October 15, 1978; Wadsworth Atheneum, Hartford, November–December, 1978; Kunstmuseum Bern, Switzerland, May 2–June 10, 1979
1977
The Material Dominant: Some Current Artists and Their Media, Pennsylvania State University Museum of Art, University Park, January 29–March 27
Drawing and Collage: Selections from the New York University Collection, Grey Art Gallery & Study Center, New York University, New York, June 1–July 1
Patterning and Decoration, Museum of the American Foundation for the Arts, Miami, October 7–November 30
1977–1978
Works from the Collection of Dorothy and Herbert Vogel, University of Michigan Museum of Art, Ann Arbor, November 11, 1977–January 1, 1978
New Ways with Paper, National Collection of Fine Arts, Smithsonian Institution, December 2, 1977–February 20, 1978
1978
Overview, 1972–1977: An Exhibition in Two Parts, A.I.R. Gallery, New York, March 5–April 9
Thick Paint, Renaissance Society at the University of Chicago, October 1–November 8
1979
Visual Poetry and Language Art, California Polytechnic State University, San Luis Obispo, March 26–April 13
As We See Ourselves: Artists’ Self-Portraits, Heckscher Museum of Art, Huntington, New York, June 22–August 5
Another Generation, The Studio Museum in Harlem, New York
1980
Howardena Pindell and Jack Whitten, Holman Hall Gallery, Trenton State College, February 14–29
Fire and Water: Paper as Art, Rockland Center for the Arts, West Nyack, New York, March 30–May 4
Dialectics of Isolation: An Exhibition of Third World Women Artists of the United States, A.I.R., New York, September 2–20
1980–1984
Afro-American Abstraction: An Exhibition of Painting and Sculpture by Nineteen Black American Artists, Institute for Art and Urban Resources, P.S. 1 Contemporary Art Center, Queens, New York, February 17–April 6, 1980; Everson Museum of Art, Syracuse, New York, February 6–March 29, 1981; Los Angeles Municipal Art Gallery, July 1–August 30, 1982; Oakland Museum of California, November 13, 1982–January 2, 1983; Brooks Memorial Art Gallery, Memphis, February 2–March 20, 1983; The Art Center, South Bend, Indiana, September 4–October 16, 1983; Toledo Museum of Art, Ohio, January 22–February 26, 1984; Bellevue Art Museum, Washington, March 25–May 6, 1984; Laguna Gloria Art Museum, Austin, June 1–July 15, 1984; Mississippi Museum of Art, Jackson, September 14–November 4, 1984
1981
Stay Tuned, New Museum of Contemporary Art, New York, July 25–September 10
Five on Fabric, Laguna Gloria Art Museum, Austin, August 28–October 11
1982
Nancy Reagan Fashion Show, Printed Matter, New York, April 1–30
The UFO Show, Queens Museum, New York, August 6–October 24, 1982
1982–1983
On Trial: Yale School of Art, 22 Wooster Gallery, New York, December 29, 1982–January 8, 1983
1983
All that Glitters, Tweed Gallery, Plainfield, New Jersey, May 11–June 18
Keeping Culture Alive: Artists’ Housing in New York, Urban Center Galleries, Municipal Art Society, New York, August 22–September 17
Language, Drama, Source, and Vision, New Museum of Contemporary Art, New York, October 8–November 27
The Television Show: Video Photographs, Robert Freidus Gallery, New York
1984
A Celebration of American Women Artists: Part II, the Recent Generation, Sidney Janis Gallery, New York, February 11–March 3
ID: An Exhibition of Third World Woman Photographers, Institute for Art and Urban Resources, P.S. 1 Contemporary Art Center, Queens, New York, October 14–December 9
Labor Intensive Abstraction, The Clocktower, New York, November 8–December 8
1985–1986
Adornments, Bernice Steinbaum Gallery, New York, December 10, 1985–January 4, 1986
1985–1987
Tradition and Conflict: Images of a Turbulent Decade, 1963–1973, The Studio Museum in Harlem, New York, January 27–June 30, 1985; Lang Gallery, Scripps College, Claremont, California, January 19–February 20, 1986; Heckscher Museum of Art, Huntington, New York, March 22–April 17, 1986; Museum of the Center for Afro-American Artists, Boston, May 18–June 22, 1986; Peninsula Fine Arts Center, Newport News, Virginia, August 11–September 26, 1986; Museum of Art and Archaeology, University of Missouri, Columbia, November 15, 1986–January 4, 1987; David and Alfred Smart Gallery, University of Chicago, May 15–June 30, 1987; Arkansas Arts Center, Little Rock, August 7–September 20, 1987; Tower Fine Arts Gallery, State University of New York, Brockport, October 9–November 15, 1987
1986
Transitions: The Afro-American Artist, Bergen Museum of Art and Science, Paramus, New Jersey, February 1–26
In Homage to Ana Mendieta, Zeus-Trabia Gallery, New York, February 6–25
Progressions: A Cultural Legacy, The Clocktower, New York, February 13–March 15
Television’s Impact on Contemporary Art, Queens Museum, New York, September 13–October 26
Masters of Color, Harris-Brown Gallery, Boston, October 15–November 15
1987
Race and Representation, Art Gallery, Hunter College, City University of New York, January 26–March 6
The Afro-American Artist in the Age of Cultural Pluralism, Montclair Art Museum, New Jersey, February 1–March 8
9 Uptown, Harlem School of the Arts, New York, April 11–May 9
Home, Goddard-Riverside Community Center, New York, May 8–31
1987–1988
Outrageous Women, Ceres Gallery, New York, December 2, 1987–January 1, 1988
1988
1938–1988: The Work of Five Black Women Artists, Art Gallery, Atlanta College of Art, July 8–August 7
1988–1989
The Turning Point: Art and Politics in 1968, Cleveland Center for Contemporary Art, September 9–October 16, 1988; Art Gallery, Lehman College, City University of New York, Bronx, November 10, 1988–January 14, 1989
Art as a Verb: The Evolving Continuum, Maryland Institute College of Art, Baltimore, November 21, 1988–January 8, 1989; Metropolitan Life Gallery, New York, March 6–April 8, 1989; The Studio Museum in Harlem, New York, March 12–June 18, 1989
Alice and Look Who Else, Through the Looking Glass, Bernice Steinbaum Gallery, New York, December 10, 1988–January 7, 1989
1989
Bridges and Boundaries, Newhouse Center for Contemporary Art, Staten Island, New York, January 7–February 19
Making Their Mark: Women Artists Move into the Mainstream, 1970–1985, Cincinnati Art Museum, February 22–April 2; New Orleans Museum of Art, May 6–June 8; Denver Art Museum, July 22–September 10; Pennsylvania Academy of the Fine Arts, Philadelphia, October 20–December 31
On the Cutting Edge: 10 Curators Choose 30 Artists, Fine Arts Museum of Long Island, Hempstead, New York, April 16–June 25
1990
The Decade Show: Frameworks of Identity in the 1980s, New Museum of Contemporary Art, New York, May 12–August 19; Museum of Contemporary Hispanic Art, New York, May 16–August 18; The Studio Museum in Harlem, New York, May 19–August 18
Figuring the Body, Museum of Fine Arts, Boston, July 28–October 28
1991
Center Margins, Howard Yezerski Gallery, January–February 6
Aspects of Collage, Guild Hall Museum, New York, May 5–June 9
1995
Chess and Checkers, Exit Art, New York, September 23–October 25
1996
Sexual Politics: Judy Chicago’s Dinner Party in Feminist Art History, Armand Hammer Museum of Art and Cultural Center, University of California, Los Angeles, April 24–August 18
Thinking Print: Books to Billboards, 1980–95, Museum of Modern Art, New York, June 20–September 10
1996–1998
Sniper’s Nest: Art that Has Lived with Lucy R. Lippard, Center for Curatorial Studies, Bard College, Annandale-on-Hudson, New York, October 28–December 22, 1996; Scales Fine Arts Center, Wake Forest University, Winston-Salem, North Carolina, January 15–April 10, 1997; Blanton Museum of Art, University of Texas, Austin, June 6–July 20, 1997; Spencer Museum of Art, University of Kansas, Lawrence, November 2–December 21, 1997; New Mexico Museum of Art, Santa Fe, April 24–September 28, 1998
1996–1999
Bearing Witness: Contemporary Works by African American Women Artists, Museum of Fine Art, Spelman College, Atlanta, July 16–December 31, 1996; Fort Wayne Museum of Art, Indiana, February 1–March 30, 1997; Polk Museum of Art, Lakeland, Florida, November 4, 1997–January 7, 1998; The Columbus Museum, Columbus, Georgia, January 25–March 16, 1998; African-American Museum, Dallas, April 6–May 19, 1998; Minnesota Museum of American Art, St. Paul, June 9–August 11, 1998; Kennedy Museum of American Art, Ohio University, Athens, September 1–October 14, 1998; Gibbes Museum of Art, Charleston, November 4, 1998–January 7, 1999; Ulrich Museum of Art, Wichita, January 28–March 16, 1999; Portland Museum of Art, Portland, Maine, April 6–May 30, 1999; Museum of Fine Arts, Houston, June 19–August 15, 1999; African-American Historical and Cultural Museum of the San Joaquin Valley, Fresno, California, September 4–October 8, 1999
1998
Women Artists in the Vogel Collection, Brenau University, Gainesville, Georgia, February 5–April 5
Not for Sale: Feminism and Art in the USA during the 1970s, Apex Art, New York, February 12–March 14
2000
An Exuberant Bounty: Prints and Drawings by African Americans, Philadelphia Museum of Art, February 5–April 16
Hidden Histories: African American Slavery and the Philippine Struggle for Independence after the War of 1898, Pro Arts, Oakland, California, March 8–April 15
2002
Outer and Inner Space: A Video Exhibition in Three Parts, Virginia Museum of Fine Arts, Richmond, January 18–August 18
Math-Art/Art-Math, Selby Gallery, Ringling College of Art and Design, Sarasota, Florida, February 22–March 30
2002–2004
In the Spirit of Martin: The Living Legacy of Dr. Martin Luther King, Jr., Charles H. Wright Museum of African American History, Detroit, January 12–August 4, 2002; Bass Museum of Art, Miami Beach, September 7–December 1, 2002; Frederick R. Weisman Art Museum, Minneapolis, January 4–April 6, 2003; International Gallery, Smithsonian Institution, Washington, DC, May 15–July 27, 2003; Memphis Brooks Museum of Art, Memphis, August 30–November 9, 2003; Montgomery Museum of Fine Arts, Alabama, December 20, 2003–March 28, 2004
2003
Layers of Meaning: Collage and Abstraction in the Late 20th Century, Pennsylvania Academy of the Fine Arts, Philadelphia, February 8–April 27
Wish You Were Here, Too, A.I.R. Gallery, New York, June 24–July 19
2003–2004
Strange Days, Museum of Contemporary Art, Chicago, September 20, 2003–July 4, 2004
2004
Something to Look Forward to, Phillips Museum of Art, Franklin & Marshall College, Lancaster, Pennsylvania, March 26–June 27
2004–2005
Creating Their Own Image, Arnold and Sheila Aronson Galleries, Sheila C. Johnson Design Center, The New School, New York, November 26, 2004–January 30, 2005
2005
Double Consciousness: Black Conceptual Art since 1970, Contemporary Arts Museum, Houston, January 22–April 17
Bodies of Evidence: Contemporary Perspectives, Museum of Art, Rhode Island School of Design, Providence, July 1–September 25
2006
An Atlas of Drawings: Transforming Chronologies, Museum of Modern Art, New York, January 26–October 2
Driven to Abstraction: Contemporary Work by American Artists, New York State Museum, Albany, January 28–March 26
Energy/Experimentation: Black Artists and Abstraction, 1964–1980, The Studio Museum in Harlem, New York, April 5–July 2
2006–2007
High Times, Hard Times: New York Painting, 1967–1975, Weatherspoon Art Museum, University of North Carolina, Greensboro, August 6–October 15, 2006; American University Museum at the Katzen Arts Center, American University, Washington, DC, November 21, 2006–January 21, 2007; National Academy Museum, New York, February 13–April 22, 2007
2007
For the Love of the Game: Race and Sport in African-American Art, Wadsworth Atheneum, Hartford, Connecticut, June 1–November 30
2007–2009
WACK! Art and the Feminist Revolution, Museum of Contemporary Art, Los Angeles, March 4–July 16, 2007; National Museum of Women in the Arts, Washington, DC, September 21–December 16, 2007; P.S. 1 Contemporary Art Center, Queens, New York, February 17–May 12, 2008; Vancouver Art Gallery, October 4, 2008–January 18, 2009
Lines, Grids, Stains, Words, Museum of Modern Art, New York, June 13–October 22, 2007; Museu de Arte Contemporânea de Serralves, Porto, Portugal, May 9–June 22, 2008; Museum Wiesbaden, Germany, September 28, 2008–January 1, 2009
Cinema Remixed and Reloaded: Black Women Artists and the Moving Image since 1970, Museum of Fine Art, Spelman College, Atlanta, September 14, 2007–May 28, 2008; Contemporary Arts Museum, Houston, October 18, 2008–January 4, 2009
2008
Strength in Numbers: Artists Respond to Conflict, Sragow Gallery, New York, June 3–July 31
2009
Paper: Pressed, Stained, Slashed, Folded, Museum of Modern Art, New York, March 11–June 22
Hidden Gems: Works on Paper, June Kelly Gallery, New York, July 9–31
2010
The Chemistry of Color: African-American Artists in Philadelphia, 1970–1990, Pennsylvania Academy of the Fine Arts, Philadelphia, January 11–April 10
Collected: Reflections on the Permanent Collection, The Studio Museum in Harlem, New York, April 1–June 27
2010–2011
Pictures by Women: A History of Modern Photography, Museum of Modern Art, New York, May 7, 2010–April 18, 2011
Embodied: Black Identities in American Art from the Yale University Art Gallery, David C. Driskell Center, University of Maryland, College Park, September 16–October 29, 2010; Yale University Art Gallery, New Haven, Connecticut, September 16, 2010–June 26, 2011
2011
Currents in Contemporary Art, Orlando Museum of Art, Orlando, Florida, January 1–June 30
VideoStudio: Playback, The Studio Museum in Harlem, March 31–June 26
2012
Full Spectrum: Prints from the Brandywine Workshop, Philadelphia Museum of Art, September 7–November 25
2013–2014
Black in the Abstract, Part I: Epistrophy, Contemporary Arts Museum, Houston, October 31, 2013–January 19, 2014
2014
African American Artists and Abstraction, Museum of Fine Arts, Havana, Cuba, August 1–23
2014–2015
Art Expanded, 1958–1978, Walker Art Center, Minneapolis, Minnesota, June 14, 2014–March 8, 2015
Variation: Conversations in and around Abstract Painting, Los Angeles County Museum of Art, August 24, 2014–March 22, 2015
Go Stand Next to The Mountain, Hales Gallery, London, November 28, 2014–January 24, 2015
2015
Represent: 200 Years of African American Art, Philadelphia Museum of Art, January 10–April 5
New Acquisitions, Rose Art Museum, Brandeis University, Waltham, Massachusetts, February 11–June 7
Piece Work, 32 Edgewood Gallery, Yale University School of Art, New Haven, Connecticut, April 6–May 24
America Is Hard to See, Whitney Museum of American Art, New York, May 1–September 27
2015–2016
Greater New York, MoMA P.S. 1, Queens, New York, October 11, 2015–March 7, 2016
Marks Made, Museum of Fine Arts, St. Petersburg, Florida, October 17, 2015–January 24, 2016
Painting 2.0: Expression in the Information Age, Museum Brandhorst, Munich, November 13, 2015–April 15, 2016; Museum Moderner Kunst, Vienna, June 2–September 25, 2016
You Go Girl! Celebrating Women Artists, Heckscher Museum of Art, Huntington, New York, December 5, 2015–April 3, 2016
2016
Blue and Black: African Rainbow, University of Delaware, Newark, February 10–May 15
Surface Area: Selections from the Permanent Collection, The Studio Museum in Harlem, New York, March 24–June 26
Hey You! Who Me?, 32 Edgewood Gallery, Yale University School of Art, New Haven, Connecticut, April 6–June 5
FORTY, MoMA P.S. 1, Queens, New York, June 19–August 29
Skins: Body as Matter and Process, Garth Greenan Gallery, New York, June 23–July 29
Haptic, Alexander Gray Associates, New York, July 7–August 12
The African American Narrative, Maitland Art Center, Florida, July 15–September 4
Her Wherever, Halsey McKay Gallery, East Hampton, October 8 – November 13
2016–2017
Real / Radical / Psychological: The Collection on Display, Mildred Kemper Art Museum, St. Louis, September 9, 2016–January 15, 2017
Reading the Image: Text in American Art Since 1969, Lyman Allyn Art Museum, New London, CT, October 8, 2016–January 22, 2017
Art AIDS America, Alphawood Gallery, Chicago, December 1, 2016–April 2, 2017
2016-2026
Visual Art and the American Experience, National Museum of African American Art and Culture, Washington, D.C., September 24, 2016–2026
2017
Expanding Tradition: Selections from the Larry D. and Brenda A. Thompson Collection, Georgia Museum of Art, University of Georgia, Athens, January 28–May 7
Picturing Math: Selections from the Department of Drawings and Prints, Metropolitan Museum of Art, New York, January 31–May 1
Masterclass: A Survey of Work from the Twentieth Century, Pavel Zoubok Gallery, New York, February 28–April 8
A Birthday Present as a Watch: Ketuta Alexi-Meskhishvili, Talia Chetrit, Ann Craven, Howardena Pindell, Thea Djordjadze and Hannah Weinberger, Galerie Frank Elbaz, Paris, March 18–June 17
Power, Sprüth Magers, Los Angeles, March 29–June 10
Painting on the Edge: A Historical Survey, Stephen Friedman Gallery, London, June 8–July 29
20/20: The Studio Museum in Harlem and Carnegie Museum of Art, Carnegie Museum of Art, Pittsburgh, July 22–December 31
Time as Landscape: Inquiries of Art and Science, Cornell Fine Arts Museum, Rollins College, Winter Park, Florida, September 28–December 31
Making/Breaking the Binary: Women, Art and Technology, 1968–85, Rosenwald-Wolf Gallery, University of the Arts, Phildelphia, October 8–December 8
2017–2018
We Wanted a Revolution: Black Radical Women, 1965–85, Brooklyn Museum, New York, April 21–September 17, 2017; California African American Museum, Los Angeles, October 13, 2017–January 14, 2018; Albright-Knox Art Gallery, Buffalo, February 17–May 27, 2018; Institute of Contemporary Art, Boston, June 26–September 30, 2018
Magnetic Fields: Expanding American Abstraction, 1960s to Today, Kemper Museum of Contemporary Art, Kansas City, Missouri, June 8–September 17, 2017; National Museum of Women in the Arts, Washington, D.C., October 13, 2017–January 21, 2018; Museum of Fine Arts, St. Petersburg, Florida, May 5–August 5, 2018
An Incomplete History of Protest: Selections from the Whitney’s Collection, 1940–2017, Whitney Museum of American Art, New York, August 18, 2017–August 27, 2018
Delirious: Art at the Limits of Reason, 1950-1980, Metropolitan Museum of Art, September 13, 2017–January 21, 2018
2017–2020
Soul of a Nation: Art in the Age of Black Power, 1963–1983, Tate Modern, London, July 12–October 22, 2017; Crystal Bridges Museum of American Art, Bentonville, Arkansas, February 3–April 23, 2018; Brooklyn Museum of Art, September 14, 2018–February 3, 2019; The Broad Museum, Los Angeles, March 23–September 1, 2019; Museum of Fine Arts, Houston, June 27–August 30, 2020
2018
Varieties of Experience, Patchogue Arts Council Gallery, New York, January 13–February 25
Citizen: An American Lyric, St. John’s University Art Gallery, Queens, January 15–March 14
Something to Say: The McNay Presents 100 Years of African American Art, McNay Art Museum, San Antonio, February 8–May 6
A Page from My Intimate Journal (Part I), Gordon Robichaux, New York, February 11–April 8
Reclamation: Pan-African Works from the Beth Rudin DeWoody Collection, Taubman Museum of Art, Roanoke, Virginia, March 3–September 2
Isness, Morgan Lehman Gallery, New York, March 15–April 21
Surface Work: Abstract Painting by Women, 1918–2018, Victoria Miro, London, April 11–May 19
A Measure of Humanity, Columbus Museum of Art, Ohio, June 22–September 16
Painting: Now and Forever, Part III, Matthew Marks Gallery, New York, June 28–August 17
Histórias Afro-Atlânticas, Museu de Arte de São Paulo Assis Chateaubriand, Brazil, June 28–October 21; Tomei Ohtake Institute, São Paulo, Brazil, June 28–October 21
Radically Ordinary: Scenes from Black Life in America Since 1968, Allen Memorial Art Museum, Oberlin College, Ohio, July 14–December 23
Dialectics of Isolation: An Exhibition of Third World Women Artists of the United States, A.I.R. Gallery, Brooklyn, August 2–September
Out of Easy Reach, Gallery 400, University of Illinois, Chicago, April 27–August 4; Grunwald Gallery of Art, Indiana University, Bloomington, August 24–November 14; Gallery for Contemporary Art, Indiana University Northwest, Gary, January 7–February 28, 2019
From Color and Form to Expression and Response: Abstract Art at University of Delaware, Mechanical Gall Gallery, University of Delaware, Newark, September 5–December 7
On Protest, Art and Activism: Part II, David Winton Bell Gallery, Brown University, Providence, Rhode Island, October 1–December 19
2018–2019
Outliers and American Vanguard Art, National Gallery of Art, Washington D.C., January 28–May 13, 2018; High Museum of Art, Atlanta, June 24–September 30, 2018; Los Angeles County Museum of Art, November 18, 2018–March 18, 2019
2018–2020
Feminist Avant-Garde of the 1970s: Works from the Sammlung Verbund Collection, Vienna, Brno House of Arts, Brno, Czech Republic, December 11, 2018–February 24, 2019; Centre de Cultura Contemporània de Barcelona, July 18–December 1, 2019; International Center of Photography, New York, July 4–September 6, 2020
Abstraction, Color, and Politics in the Early 1970s, University of Michigan Museum of Art, Ann Arbor, September 22, 2018–February 9, 2020
2019
Do You Keep Thinking There Must be Another Way, Mimosa House, London, February 15–April 27
Cut: Abstraction in the United States from the 1970s to the Present, Frost Art Museum, Florida International University, June 1–August 25
The Art of Collage and Assemblage, Philadelphia Museum of Art, June 8–September 2
NOMEN: American Women Artists from 1945 to Today, Phillips, New York, June 19–August 3
Less is a Bore: Maximalist Art & Design, Institute of Contemporary Art, Boston, June 26–September 22
Painters Reply: Experimental Painting in the 1970s and Now, Lisson Gallery, New York, June 27–August 10
ACE: Art on Sports, Promise, and Selfhood, University Art Museum, University at Albany, June 28–December 7
Painting/Sculpture, Marianne Boesky Gallery, New York, July 10–August 16
Rosebud, Matthew Marks Gallery, Los Angeles, July 13–August 24
Please Recall to Me Everything You Have Thought Of, Morán Morán, Los Angeles, July 13–August 24
Rock My Soul, Victoria Miro, London, October 2–November 2
2019–2020
Generations: A History of Black Abstract Art, Baltimore Museum of Art, September 29, 2019–January 5, 2020
Afrocosmologies: American Reflections, Wadsworth Atheneum, Hartford, Connecticut, October 19, 2019–January 20, 2020
Direct Message: Art, Language, and Power, MCA Chicago, October 26, 2019–January 12, 2020
Pioneers, Part Two, Cleveland Museum of Art, December 2, 2019–March 12, 2020
2019–2021
The Body Electric, Walker Art Center, Minneapolis, March 30–July 21, 2019; Yerba Buena Center for the Arts, San Francisco, September 6, 2019–February 23, 2020; Miami Dade College Museum of Art and Design, November 5, 2020–May 30, 2021
Black Refractions: Selections from The Studio Museum in Harlem, Museum of the African Diaspora, San Francisco, January 15–April 14, 2019; Kalamazoo Institute of Arts, Michigan, September 13–December 8, 2019; Smith College Museum of Art, Northampton, Massachusetts, January 17–April 12, 2020; Utah Museum of Fine Arts, Salt Lake City, January 23–April 11, 2021; Frye Art Museum, Seattle, May 22–August 15, 2021
With Pleasure: Pattern and Decoration in American Art, 1972–1985, Museum of Contemporary Art, Los Angeles, October 27, 2019–March 30, 2020; CCS Bard Hessel Museum of Art, Bard College, Annandale-on-Hudson, New York, June 26–November 28, 2021
2019–2022
Making Knowing: Craft in Art, 1950–2019, Whitney Museum of American Art, New York, November 22, 2019–February 2022
2020
WOMAN-MADE: From the Collection, Leepa-Rattner Museum of Art, St. Petersburg College, Tarpon Springs, Florida, January 25–September 6
Making Community: Prints from Brandywine Workshop and Archives, Brodsky Center at PAFA, and Paulson Fontaine Press, Pennsylvania Academy of the Fine Arts, Philadelphia, February 1–April 12
Frank Walter: Eine Retrospektive, Museum Für Moderne Kunst, Frankfurt, March 27–September 27
Nevertheless She Persisted, Hofstra University Museum of Art, Hempstead, New York, March 31–August 14
Mapping the Collection, Museum Ludwig, Cologne, June 20–October 11
2020–2021
Don’t let this be easy, Walker Art Center, Minneapolis, July 30, 2020–July 4, 2021
PICTURE ID: Contemporary African American Works on Paper, Toledo Museum of Art, Ohio, August 4, 2020–January 17, 2021
Never Done: 100 Years of Women in Politics and Beyond, Tang Teaching Museum, Skidmore College, Saratoga Springs, New York, September 17, 2020–June 6, 2021
Protest and Promise: Selections from the Contemporary Art Collection, 1963-2019, Wadsworth Atheneum Museum of Art, Hartford, Connecticut, September 5, 2020–
The Making of Husbands: Christina Ramberg in Dialogue, BALTIC Centre for Contemporary Art, Gateshead, United Kingdom, September 19, 2020–June 6, 2021
Explorations of Self: Black Portraiture, Hanes Gallery, Wake Forest University, Winston-Salem, North Carolina, September 21, 2020–March 28, 2021
2021
Under Construction: Collage from the Mint Museum, Hunter Museum of American Art, Chattanooga, Tennessee, January 29–April 18
Grief and Grievance: Art and Mourning in America, New Museum, New York, February 17–June 6
Women’s Work, Mildred Lane Kemper Art Museum, Washington University in St. Louis, Missouri, April 23–August 1
Affinities for Abstraction: Women Artists on Eastern Long Island, 1950–2020, Parrish Art Museum, Water Mill, New York, May 2–July 25
New Grit: Art and Philly Now, Philadelphia Museum of Art, Pennsylvania, May 7–August 22
African American Printmakers from the Jim and Martha Sweeny Collection, Leepa-Rattner Museum of Art, St. Petersburg College, Tarpon Springs, Florida May 29–August 29
Oval Office, Tirolean Artists’ Association, Innsbruck, Austria, May 29–July 31
Colliding with History: African American Works on Paper from the Collection of Wes and Missy Cochran, The Ernest G. Welch School of Art & Design Gallery, Georgia State University, Atlanta, September 13–November 12
A Picture Gallery of the Soul, Katherine E. Nash Gallery, University of Minnesota, September 14–December 11
2021–2022
Women in Abstraction, Centre Pompidou, Paris, May 19–August 23, 2021; Guggenheim Bilbao, October 22, 2021–January 23, 2022
The Heckscher Museum Celebrates 100: Tracing History, Inspiring the Future, Hecksher Museum of Art, Huntington, New York, June 5, 2021–January 9, 2022
Supernatural America: The Paranormal in American Art, Toledo Museum of Art, Ohio, June 12–September 5, 2021; Speed Art Museum, Louisville, Kentucky, October 7, 2021–January 2, 2022; Minneapolis Institute of Art, Minnesota, February 19–May 15, 2022
On the Basis of Art: 150 Years of Women at Yale, Yale University Art Gallery, New Haven, Connecticut September 10, 2021–January 9, 2022
There is a Woman in Every Color: Black Women in Art, Bowdoin College Museum of Art, Brunswick, Maine, September 16, 2021–January 30, 2022
2021–2023
Art as a Verb, Museum of Modern Art, New York, New York, May 8, 2021–June 1, 2023
Transformed: Objects Reimagined by American Artists, Montclair Art Museum, Montclair, New Jersey, September 12, 2021–December 3, 2023
2021–2024
re:collections: Six Decades at the Rose Art Museum, Rose Art Museum, Brandeis University, Waltham, Massachusetts, June 25, 2021–June 2, 2024
2022
A Site of Struggle: American Art Against Anti-Black Violence, Block Museum of Art at Northwestern University, Evanston, Illinois, January 26–July 10
Contemporary Spotlight: New Acquisitions from the Brandywine Workshop, Jepson Center, Atlanta, February 4–May 1
Two Centuries of Long Island Women Artists, 1800–2000, Long Island Museum of Art, Stony Brook, New York, March 3–September 4
ARS22, Museum of Contemporary Art Kiasma, Helsinki, Finland, April 8–October 16
The Double: Identity and Difference in Art Since 1900, National Gallery of Art, Washington, D.C., July 10–October 30
A Picture Gallery of the Soul, Katherine E. Nash Gallery, University of Minnesota, Minneapolis, September 13–December 10
2022–2023
52 Womxn Artists: Revisiting a Feminist Milestone, Aldrich Contemporary Art Museum, Ridgefield, Connecticut, June 5, 2022–January 8, 2023
Just Above Midtown: Changing Spaces, Museum of Modern Art, New York, New York, October 9, 2022–February 18, 2023
Equals 6: A Sum Effect of Frank Bowling’s 5+1, UMass Boston, Boston, Massachusetts, November 14, 2022–February 18, 2023
2023
Signals: How Video Transformed the World, Museum of Modern Art, New York, New York, March 5–July 8
Tales of Brave Ulysses: Al Loving, Howardena Pindell, Alan Shields, and Richard Van Buren, Garth Greenan Gallery and Van Doren Waxter, New York, New York, November 9 – December 16
2023–2024
Unbound: Performance as Rupture, Julia Stoscheck Foundation, Berlin, September 14, 2023–July 28, 2024
Making Their Mark, The Shah Garg Foundation, New York, New York, November 2, 2023–January 27, 2024
Multiplicity: Blackness in Contemporary American Collage, Frist Art Museum, Nashville, Tennessee, September 15–December 31, 2023; Museum of Fine Arts, Houston, February 18–May 12, 2024; Phillips Collection, Washington, D.C., July 6–September 22, 2024;
Faculty Exhibition 2023, Paul W. Zuccaire Gallery, Stony Brook University, Stony Brook, New York, November 4, 2023–February 22, 2024
Gimme Shelter, Hampton House, Miami, Florida, December 5, 2023–January 22, 2024
2024
For What It’s Worth: Value Systems in Art Since 1960, The Warehouse, Dallas, Texas, February 2–June 29
Beyond Form: Lines of Abstraction, 1950–1970, Turner Contemporary, Margate, Kent, February 3–May 6
A Female Landscape and the Abstract Gesture, Johnson-Kulukundis Family Gallery, Harvard Radcliffe Institute, Cambridge, Massachusettes, February 5–June 22
Between Us, Olivia Foundation, Mexico City, February 7–September 8
Day Jobs, Cantor Arts Center, Stanford University, Stanford, California, March 6–July 21
The Rains are Changing Fast: New Acquisitions in Context, The Heckshcher Museum of Art, Huntington, New York, March 23, 2024– September 1
Silver Linings: Celebrating the Spelman Art Collection, Boise Art Museum, Boise, Idaho, February 24–July 21
Painting Deconstructed, Ortega y Gassett Projects, Brooklyn, New York, May 18–August 18
Trade Windings: De-Lineating the American Tropics, MCA Chicago, Chicago, Illinois, May 18–December 1
Made in PA, Palmer Museum of Art, Pennsylvania State University, June 1–December 1
Mother Lode: Material and Memory, James Cohan Gallery, New York, New York, June 21–July 26
Multiplicity: Blackness in Contemporary American Collage, Phillips Collection, Washington, D.C., July 6–September 22
A Treatise on Color: Vols. I–IV, Fridman Gallery, New York, New York, September 4–October 5
2024–2025
Ocean, Louisiana Museum, Humlebaek, Denmark, October 11, 2024–April 27, 2025
Past as Prologue: A Historical Acknowledgment, Part I of II, National Academy of Design, New York, New York, October 17, 2024–January 11, 2025
The Living End: Painting and Other Technologies, 1970–2020, MCA Chicago, Chicago, Illinois, Nov 09, 2024–Mar 23, 2025
SELECTED COLLECTIONS
Albright-Knox Art Gallery, Buffalo
Allen Memorial Art Museum, Oberlin College, Ohio
Baltimore Museum of Art
Bowdoin College Museum of Art, Brunswick, Maine
Brooklyn Museum
Corcoran Gallery of Art, Washington, DC
Everson Museum of Art, Syracuse, New York
FAMM: Female Artists of the Mougins Museum, Mougins, France
Fogg Art Museum, Harvard University, Cambridge, Massachusetts
Guggenheim Abu Dhabi
Heckscher Museum of Art, Huntington, New York
Henie-Onstad Kunstsenter, Høvikodden, Norway
High Museum of Art, Atlanta
Institute of Contemporary Art, Boston
Louisiana Museum of Modern Art, Copenhagen
McNay Art Museum, San Antonio
Metropolitan Museum of Art, New York
Milwaukee Museum of Art, Wisconsin
Mint Museum of Art, Charlotte, North Carolina
Museum of Contemporary Art, Chicago
Museum of Fine Arts, Boston
Museum of Fine Arts, Houston
Museum of Modern Art, New York
National Academy Museum, New York
National Gallery of Art, Washington, DC
Newark Museum, New Jersey
Pennsylvania Academy of the Fine Arts, Philadelphia
Pérez Art Museum Miami
Philadelphia Museum of Art
Princeton University Art Museum, New Jersey
Rose Art Museum, Brandeis University, Waltham, Massachusetts
Roy R. Neuberger Museum of Art, Purchase College, State University of New York
Smith College Museum of Art, Northampton, Massachusetts
Smithsonian Museum of American Art, Washington, DC
Spelman College Museum of Fine Art, Atlanta
The Studio Museum in Harlem, New York
Telfair Museum of Art, Savannah, Georgia
Virginia Museum of Fine Arts, Richmond
Wadsworth Atheneum, Hartford
Walker Art Center, Minneapolis
Whitney Museum of American Art, New York
Yale University Art Gallery, New Haven, Connecticut
Zimmerli Art Museum, Rutgers, The State University of New Jersey, New Brunswick
SELECTED BIBLIOGRAPHY
BOOKS AND CATALOGUES
22 Wooster Gallery. On Trial: Yale School of Art. New York: 22 Wooster Gallery, 1982.
A.I.R. Gallery. Overview, 1972–1977: An Exhibition in Two Parts. New York: A.I.R. Gallery, 1978.
Alexander, Stephen and Eugene Diserio. Rooms: P.S. 1. Queens, NY: Institute for Art and Urban Resources, 1976.
Armour, Jody David. Negrophobia and Reasonable Racism: The Hidden Costs of Being Black in America. New York: New York University Press, 1997.
Art Galleries at Black Studies. Collecting Black Studies. Austin: University of Texas Press, 2020.
Asheville Art Museum. Asheville Art Museum: An Introduction to the Collection. Asheville: Asheville Art Museum, 2019.
Avilez, GerShun. Radical Aesthetics and Modern Black Nationalism. Chicago: University of Illinois, 2016.
Barilleaux, René Paul. Something to Say: The McNay Presents 100 Years of African American Art. San Antonio, Texas: McNay Art Museum, 2018.
Beckwith, Naomi and Valerie Cassel Oliver. Howardena Pindell: What Remains to be Seen. Chicago: Museum of Contemporary Art Chicago, 2018.
Bergen Museum of Art and Science. Transitions: The Afro-American Artist. Paramus, NJ: Bergen Museum of Art and Science, 1986.
Berger, Maurice. Race and Representation. New York: Hunter College, City University of New York, 1987.
Bernice Steinbaum Gallery. Alice and Look Who Else, Through the Looking Glass. New York: Bernice Steinbaum Gallery, 1988.
Boris, Staci. Art AIDS America: Chicago. Chicago: Alphawood Foundation, 2018.
Brand, Dionne. An Autobiography of the Autobiography of Reading. Alberta, Canada: University of Alberta, 2020.
Brooklyn Museum. We Wanted a Revolution: Black Radical Women, 1965–85, New Perspectives. Brooklyn: Brooklyn Museum, 2018.
Broude, Norma and Mary D. Garrard. The Power of Feminist Art. New York: Harry N. Abrams, 1994.
Brownlee, Andrea Barnwell and Valerie Cassel Oliver. Cinema Remixed and Reloaded: Black Women Artists and the Moving Image Since 1970. Houston: Contemporary Arts Museum, 2008.
Bryan-Wilson, Julia. “Reviews: ‘Outliers and American Vanguard Art’ at National Gallery of Art, Washington, D.C.” Artforum 56, no. 9 (2017): 226–27.
Butler, Cornelia H. and Lisa Gabrielle Mark. WACK! Art and the Feminist Revolution. Los Angeles: Museum of Contemporary Art, 2007.
Campbell, Mary Schmidt. Tradition and Conflict: Images of a Turbulent Decade, 1963–1973. New York: The Studio Museum in Harlem, 1985.
Cantor Arts Center at Stanford University. Day Jobs. Sante Fe: Radius Books, 2024.
Chassman, Gary Miles. In the Spirit of Martin: The Living Legacy of Dr. Martin Luther King, Jr. Washington, DC: Smithsonian Institution, 2002.
Centre Pompidou. Elles font l’abstraction. Paris: Éditions du Centre Pompidou, 2021.
Choi, Connie. Black Refractions: Highlights from The Studio Museum in Harlem. New York: American Federation of Arts, 2019.
Cochran, Rebecca Dimling. Colliding with History: African American Works on Paper from the Collection of Wes and Missy Cochran. Exhibition catalogue. Atlanta: Georgia State University, 2021.
Collins, Patricia Hill. Black Feminist Thought. New York: Routledge, 1990.
Contemporary Arts Museum Houston. Outside the Lines. Houston: Contemporary Arts Museum Houston, 2014.
Contemporary Art Society. Painting and Sculpture Today. Indianapolis: Indianapolis Museum of Art, 1974.
Cooke, Lynne. Outliers and American Vanguard Art. Washington, D.C.: National Gallery of Art, 2018.
Cotter, Holland. “A West Coast Spotlight on Latino Artists Leads the Fall Art Season.” New York Times, September 3, 2017.
Cozzolino, Robert. Supernatural America: The Paranormal in American Art. Exhibition catalogue. Minneapolis: Minneapolis Institute of Art, 2021.
Cyrus Gallery. Howardena Pindell: Autobiography. New York: Cyrus Gallery, 1989.
Dees. Janet. A Site of Struggle: American Art Against Anti-Black Violence. Evanston, Illinois: Northwestern University, 2022.
Dziedzic, Erin, Melissa Messina, Valerie Cassel Oliver, Lowery Stokes Sims, and Lilly Wei. Magnetic Fields: Expanding American Abstraction, 1960s to Today. Kansas City: Kemper Museum of Contemporary Art, 2017.
Elsas, Ellen F. Howardena Pindell: Traveler’s Memories. Birmingham, AL: Birmingham Museum of Art, 1985.English, Darby and Charlotte Barat. Among Others: Blackness at MoMA. New York: Museum of Modern Art, 2019.
Enwezor, Okwui. Grief and Grievance: Art and Mourning in America. London: Phaidon, 2020.
Exhibits USA. Howardena Pindell: Paintings and Drawings, 1972–1992. Kansas City, MO: Exhibits USA, 1992.
Farrington, Lisa. African-American Art: A Visual and Cultural History. New York: Oxford University Press, 2017.
Fine Arts Museums of Long Island. On the Cutting Edge: 10 Curators Choose 30 Artists. Hempstead, NY: Fine Arts Museum of Long Island, 1989.
Fine, Ruth, Molly Donovan, and Jean Westmacott. Women Artists in the Vogel Collection. Gainesville, GA: Brenau University, 1998.
Fogg Art Museum, Harvard University. New American Graphic Art. Cambridge, MA: Fogg Art Museum, Harvard University, 1973.
Frankel, David. Sniper’s Nest: Art that Has Lived with Lucy R. Lippard. Annandale-on-Hudson, NY: Center for Curatorial Studies, Bard College, 1996.
Franks, Pamela. Embodied: Black Identities in American Art from the Yale University Art Gallery. New Haven, CT: Yale University Art Gallery, 2010.
Gahr, Thea, ed. Theodore A. Harris: Art as Social Praxis. McMinnville: Linfield University, 2021.
Garth Greenan Gallery. Howardena Pindell: Paintings, 1974–1980. New York: Garth Greenan Gallery, 2014.
Georgia Museum of Art. Expanding Tradition: Selections from the Larry D. and Brenda A. Thompson Collection. Athens: Georgia Museum of Art, University of Georgia, 2017.
Goldin, Amy. Patterning and Decoration. Miami: Museum of the American Foundation for the Arts, 1977.
Godfrey, Mark and Zoe Whitley. Soul of a Nation: Art in the Age of Black Power. London: Tate Publishing, 2017.
Goode Bryant, Linda, Marcy S. Philips. Contextures. Brooklyn: Pacific and Primary Information, 2024.
Grey Art Gallery & Study Center, New York University. Drawing and Collage: Selections from the New York University Collection. New York: New York University, 1977.
Groom, Amelia. Beverley Buchanan: Marsh Ruins. London: Afterall Books, 2020.
Grove Gallery, State University of New York, Albany. Howardena Pindell. Albany: State University of New York, 1990.
Harper, Daria. “Black Abstract Artists Are Finally Being Recognized by the Art Market.” Artsy News, February 15, 2021.
Heckscher Museum of Art. As We See Ourselves: Artists’ Self-Portraits. Huntington, NY: Heckscher Museum of Art, 1979.
Herzberg, Julie P. The Decade Show: Frameworks of Identity in the 1980s. New York: Museum of Contemporary Hispanic Art, 1990.
Holloway, Karla. Codes of Conduct: Race, Ethics and the Color of Our Character. New Brunswick, NJ: Rutgers University Press, 1996.
Institute of Contemporary Art, University of Pennsylvania. Painting, Drawing, and Sculpture of the ’60s and ’70s from the Dorothy and Herbert Vogel Collection. Philadelphia: Institute of Contemporary Art, University of Pennsylvania, 1975.
Institute of Contemporary Arts, London. Unlikely Photography. London: Institute of Contemporary Arts, 1972.
John and Norah Warbeke Gallery, Mount Holyoke College. A New Vitality in Art: The Black Woman. South Hadley, MA: Mount Holyoke College, 1972.
Jones, Amelia and Laura Cottingham. Sexual Politics: Judy Chicago’s Dinner Party in Feminist Art History. Los Angeles: University of California Press, 1996.
Jones, Kellie. 9 Uptown. New York: Harlem School of the Arts, 1987.
———. Energy/Experimentation: Black Artists and Abstraction, 1964–1980. New York: The Studio Museum in Harlem, 2006.
———. Eye-Minded: Living and Writing Contemporary Art. Durham, NC: Duke University Press, 2011.
Katz, Anna, ed. With Pleasure: Pattern and Decoration in American Art, 1972–1985. Los Angeles: Museum of Contemporary Art, Los Angeles, 2019.
King-Hammond, Leslie. Gumbo Ya-Ya. New York: Midmarch Arts Press, 1989.
King-Hammond, Leslie and Lowery Stokes Sims. Art as a Verb: The Evolving Continuum. Baltimore: Maryland Institute College of Art, 1988.
Kingsley, April. Afro-American Abstraction: An Exhibition of Painting and Sculpture by Nineteen Black American Artists. Queens, NY: Institute for Art and Urban Resources, P.S. 1 Contemporary Art Center, 1980.
Kunsthaus Hamburg. American Women Artists. Hamburg: Kunsthaus Hamburg, 1972.
Laguna Gloria Art Museum. Five on Fabric. Austin: Laguna Gloria Art Museum, 1981.
Langdale, Shelley R., Ruth Fine, and Allan L. Edmunds. Full Spectrum: Prints from the Brandywine Workshop. Philadelphia: Philadelphia Museum of Art, 2012.
Laursen, Steingrim. Yngre Amerikansk Kunst: Tegninger og Grafik. Copenhagen: Gentofte Rådhus, 1972.
Lewis, Samella. African American Art and Artists. Los Angeles: University of California Press, 1994.
Lippard, Lucy R. 26 Contemporary Women Artists. Ridgefield, CT: Aldrich Museum of Contemporary Art, 1971.
Louisiana Museum of Modern Art. Ocean. Humlebaek: Louisiana Museum of Modern Art, 2024.
———. Mixed Blessings: New Art in a Multicultural America. New York: Pantheon Books, 1990.
Macel, Christine, and Karolina Ziebinska-Lewandowska, eds. Mujeres de La Abstractión. Exhibition catalogue. Paris: Centre Pompidou, 2021.
Macel, Christine, and Karolina Ziebinska-Lewandowska, eds. Women in Abstraction. Exhibition catalogue. Paris: Centre Pompidou, 2021.
Magnin, André. Contemporary Art of Africa. New York: Harry N. Abrams, 1998.
Marion Koogler McNay Art Institute. American Artists ’76: A Celebration. San Antonio: Marion Koogler McNay Art Institute, 1976.
Metropolitan Museum of Art. The Artist Project: What Artists See When They Look at Art. New York: Phaidon, 2017.
Minh-Ha, Trinh T. Woman, Native, Other: Writing Postcoloniality and Feminism. Bloomington, IN: Indiana University Press, 1989.
Mitchell, Frank. Afrocosmologies: American Reflections. New Britain, CT: Wadsworth Atheneum Museum of Art, 2019.
Montclair Art Museum. The Afro-American Artist in the Age of Cultural Pluralism. Montclair, NJ: Montclair Art Museum, 1987.
Morris, Catherine and Rujecko Hockley, eds. We Wanted a Revolution: Black Radical Women, 1965–85. Brooklyn: Brooklyn Museum: 2017.
Moszynska, Anna. Abstract Art. London: Thames and Hudson, 2020.
Museo de Arte de Sao Paulo Assis Chateaubriand. Historias Afro-Atalanticas. Sao Paulo: Museo de Arte de Sao Paulo Assis Chateaubriand, 2018.
National Collection of Fine Arts, Smithsonian Institution. New Ways with Paper. Washington, DC: Smithsonian Institution, 1978.
National Museum of African American History and Culture. Reckoning: Protest. Defiance. Resilience.. New York: Rizzoli Electa, 2024.
New York Cultural Center. Blacks: USA: 1973. New York: New York Cultural Center, 1973.
Newhouse Center for Contemporary Art. Bridges and Boundaries. Staten Island, NY: Newhouse Center for Contemporary Art, 1989.
Oliver, Valerie Cassel and Franklin Sirmans. Double Consciousness: Black Conceptual Art Since 1970. Houston: Contemporary Arts Museum, 2005.
O’Neill-Butler, Lauren. Let’s Have a Talk: Conversations with Women on Art and Culture. New York: Karma Books, 2021.
Ortega y Gasset Projects. Painting Deconstructed. Brooklyn: Ortega y Gasset Projects and Space Sisters Press, 2024.
Painter, Nell. Creating Black Americans. London: Oxford University Press, 2006.
Patton, Sharon. African-Amerian Art. New York: Oxford University Press, 1995.
Pendleton, Adam. System Subject. New York: Pace, 2018.
Pérez Oramas, Luis. An Atlas of Drawings: Transforming Chronologies. New York: Museum of Modern Art, 2006.
Phaidon. Great Women Artists. London: Phaidon, 2019.
Philadelphia Museum of Art. An Exuberant Bounty: Prints and Drawings by African Americans. Philadelphia: Philadelphia Museum of Art, 2000.
———. New Grit: Art & Philly Now. Philadelphia: Philadelphia Museum of Art, 2021.
———. Represent: 200 Years of African American Art in the Philadelphia Museum. Philadelphia: Philadelphia Museum of Art, 2014.
Phillips Museum of Art, Franklin & Marshall College. Something to Look Forward to. Lancaster, PA: Phillips Museum of Art, Franklin & Marshall College, 2004.
Pindell, Howardena and Lowery Stokes Sims. The Heart of the Question: The Writings and Paintings of Howardena Pindell. New York: Midmarch Arts Press, 1997.
Porter, Jenelle. Less is a Bore: Maximalist Art & Design. Boston: ICA Boston, 2020.
Powell, Richard J. Black Art. London: Thames & Hudson, 2021.
———. Black Art and Culture in the 20th Century. London: Thames and Hudson, 1997.
———. Going There: Black Visual Satire. New Haven: Yale University Press, 2020.
Prestel. Painting 2.0: Expression in the Information Age. Munich: Prestel, 2015.
Queens Museum. Television’s Impact on Contemporary Art. Queens, NY: Queens Museum, 1986.
Ratcliff, Carter. Thick Paint. Chicago: Renaissance Society at the University of Chicago, 1978.
Rattermeyer, Volker. Lines, Grids, Stains, Words. New York: Museum of Modern Art, 2008.
Ravenal, John B. Outer and Inner Space: A Video Exhibition in Three Parts. Richmond: Virginia Museum of Fine Arts, 2002.
Reilly, Maura. Curatorial Activism: Towards and Ethics of Curating. Thames and Hudson: London, 2018.
Rifkin, Ned. Stay Tuned. New York: New Museum of Contemporary Art, 1981.
Robinson, Jontyle Theresa and Maya Angelou. Bearing Witness: Contemporary Works by African American Women Artists. New York: Rizzoli, 1997.
Robinson, Walter, Edit DeAk, and Joshua Cohn. Art-Rite. New York: Primary Information and Printed Matter, 2019.
Rockefeller Memorial Galleries, Spelman College. Paintings and Drawings by Howardena Pindell. Atlanta: Spelman College, 1971.
Rolón, Carlos, Dan Peterson, and John Dennis, eds. Common Practice: Basketball & Contemporary Art. Milan: Skira editore S.p.A., 2020.
Rosen, Randy and Catherine Coleman Brawer. Making Their Mark: Women Artists Move into the Mainstream, 1970–1985. New York: Abbeville Press, 1989.
Sajet, Kim. The Chemistry of Color: African-American Artists in Philadelphia, 1970–1990. Philadelphia: Pennsylvania Academy of the Fine Arts, 2005.
Santa Barbara Museum of Art. The Handmade Paper Object. Santa Barbara: Santa Barbara Museum of Art, 1976.
Schor, Gabriele. Feministische Avantgarde: Band II. Vienna: Sammlung Verbund, 2021.
Sidney Janis Gallery. A Celebration of American Women Artists: Part II, the Recent Generation. New York: Sidney Janis Gallery, 1984.
Siegel, Katy. High Times, Hard Times: New York Painting, 1967–1975. New York: Independent Curators International, 2006.
Soteriou, Alexandra. Fire and Water: Paper as Art. West Nyack, NY: Rockland Center for the Arts, 1980.
Steinhauer, Jillian. “Review: A.I.R. Gallery Catches Up on Some Unfinished Business.” New York Times, August 22, 2018.
Straine, Stephanie. Abstract Art. London: Thames & Hudson, 2020.
Strassfield, Christina. Aspects of Collage. East Hampton, NY: Guild Hall Museum, 1991.
The Studio Museum in Harlem. Howardena Pindell: Odyssey. New York: The Studio Museum in Harlem, 1986.
Sundell, Nina. The Turning Point: Art and Politics in 1968. Cleveland: Cleveland Center for Contemporary Art, 1988.
Sures, Lynn and Michelle Samour. Radical Paper: Art and Invention with Colored Pulp. Ann Arbor: The Legacy Press, 2024.
Tucker, Marcia, Lynn Gumpert, and Ned Rifkin. Language, Drama, Source, and Vision. New York: New Museum of Contemporary Art, 1983.
Tuttle, Lisa. 1938–1988: The Work of Five Black Women Artists, Atlanta: Atlanta College of Art, 1988.
University of Michigan Museum of Art. Works from the Collection of Dorothy and Herbert Vogel. Ann Arbor: University of Michigan Museum of Art, 1978.
Walczak, Larry. Nancy Reagan Fashion Show. New York: Printed Matter, Inc., 1982.
Weatherspoon Art Gallery, University of North Carolina, Greensboro. Art on Paper. Greensboro: University of North Carolina, 1975.
Whitney Museum of American Art. 1972 Annual Exhibition: Contemporary American Painting. New York: Whitney Museum of American Art, 1972.
Whitney Museum of American Art. Contemporary Black Artists in America. New York: Whitney Museum of American Art, 1971.
Wilford, Adeze, ed. Howardena Pindell: Rope/Fire/Water. New York: The Shed, 2020.
Womack, Autumn. The Matter of Black Living: The Aesthetic Experiment of Racial Data, 1880–1930. Chicago: University of Chicago Press, 2022.
Wye, Deborah. Thinking Print: Books to Billboards, 1980–95. New York: Museum of Modern Art, 1996.
Yale University. On the Basis of Art: 150 Years of Women at Yale. New Haven: Yale University, 2021.
Zausner, Toby. When Walls Become Doorways: Creativity and Transformation. New York: Harmony Books, 2006.
PERIODICALS
Adamson, Glenn. “Pattern Recognition.” Art in America 107, no. 8 (2019): 40–47.
“Art: Brooklyn Museum.” New Yorker 93, no. 17 (2017): 5.
“Art: Howardena Pindell.” New Yorker 93, no. 37 (2017): 18.
Bachor, Kenneth. “A New Exhibition Shows How Black Women Challenged the Art World.” Time, April 24, 2017.
Bass, Ruth. “New York Reviews: Howardena Pindell.” Art News 89, no. 2 (1990): 162.
Braff, Phyllis. “Creating Power and Originality.” New York Times, April 17, 1983.
Budick, Ariella. “Sisters of the Revolution” Financial Times, April 29, 2017.
Burnside, Madeline. “New York Reviews: Howardena Pindell.” Art News 77, no. 1 (1978): 146–47.
Campbell, Andrianna and Howardena Pindell. “Howardena Pindell Talks About Her Forthcoming Retrospective at the Museum of Contemporary Art Chicago.” Artforum 56, no. 6 (2018): 154–159.
Campbell, Lawrence. “New York Reviews: Howardena Pindell.” Art News 72, no. 2 (1973): 85.
Casteel, Jordan. “Artists’ Artists.” Artforum 56, no. 4 (2017): 77.
Cavaliere, Barbara. “Arts Reviews: Howardena Pindell.” Arts Magazine 52, no. 4: 35.
Chamberlain, Colby. “Howardena Pindell at Garth Greenan Gallery.” Artforum 58, no. 5 (2020): 211.
Cohn, Gabe. “The Shed’s Second Season to Feature New Commissions and Familiar Faces.” New York Times, December 20, 2019.
Colby, Joy Hakanson. “Pindell Shows Her Artistry with Photos at N’Namdi.” Detroit News, September 15, 2000.
Cotter, Holland. “A Gathering of Women with Cameras.” New York Times, May 28, 2010.
———. “A Latino Nod, Old Masters, Sexual Identity.” New York Times, September 10, 2017.
———. “Art in Review: Howardena Pindell.” New York Times, May 14, 2004.
———. “Art in Review: Howardena Pindell.” New York Times, July 28, 2006.
———. “African Genesis: What Western Artists Like.” New York Times, May 27, 1994.
———. “Creating Their Own Image.” New York Times, January 7, 2005.
———. “To Be Black, Female and Fed Up With the Mainstream.” New York Times, April 21, 2017.
Cowan, Sarah Louise. “Texturing Abstraction: Howardena Pindell’s Cut and Sewn Paintings.” Art Journal 79, no. 4 (2020): 26–43.
Crimp, Douglas. “New York Reviews: Howardena Pindell.” Art News 73, no. 3 (1974): 99.
Crow, Kelley. “Five Artists to Watch at Art Basel in Miami Beach.” Wall Street Journal, December 1, 2016.
Cullinan, Helen. “Black Artist’s Show Opens at Institute.” Cleveland Plain Dealer, August 26, 1994.
Cumming, Laura. “Surface Work Review: Women Abstract Artists Dazzle in Historic Show.” Guardian, April 15, 2018.
Curran, Colleen. “Art and Activism in the Abstract: Howardena Pindell at the VMFA.” Richmond Times-Dispatch, August 22, 2018.
Delson, Susan. “Blurring the Physical and Digital Worlds.” Wall Street Journal, March 15, 2019.
Deveney, Grace. “Howardena Pindell’s Video Drawings Diagramming Thought.” Osmos, no. 17 (2019): 30–35.
D’Souza, Aruna. “A Feminist Diary.” Canadian Art 35, no. 4 (2019): 58–61.
Erickson, Mark St. John. “Summer Arts Guide: Beating the Heat with Peninsula-Area Art Exhibits.” Daily Press, June 16, 2018.
Failing, Patricia. “A Case of Exclusion.” Art News 88, no. 3 (1989): 124–131.
Farago, Jason. “Politics and Commerce Collide at Art Basel Miami Beach.” New York Times, December 2, 2016.
Fateman, Johanna. “Art: Howardena Pindell at Garth Greenan Gallery.” New Yorker 95, no. 35 (2019): 9.
“Five Things to do Around Boston, January 28–February 3: Medium and Message.” Boston Globe, January 25, 2019.
Fox, Catherine. “An Odyssey Both Physical, Spiritual.” Atlanta Journal and Constitution, July 13, 1990.
Fraser, Inga. “Untitled by Howardena Pindell.” Document Journal, no. 12 (2018): 268–77.
Fraser, Trevor. “’Culture Pop: Untold Stories’ in Maitland.” Orlando Sentinel, July 14, 2016.
Glueck, Grace. “Howardena Pindell: Social and Political Work, 1980–93.” New York Observer 7, no. 23 (1993): 22.
Goodrich, John. “The Uncertain Line Between Art and Advocacy.” New York Sun, July 20, 2006.
Greben, Deidre S. “Stony Brook Art Professor Howardena Pindell Has A Retrospective.” Newsday, March 21, 2018.
Green, Frank. “Howardena Pindell: Memory’s Soul.” Cleveland Free Times, September 7, 1994.
Green, Penelope. “Two Apartments, Two Mindsets.” New York Times, April 18, 2004.
Greenberger, Alex. “Full Circle: Howardena Pindell Steps Back Into the Spotlight with a Traveling Retrospective.” Art News 116, no. 4 (2017): 80–85.
Haddad, Natalie. “Reviews: Howardena Pindell.” Frieze, no. 195 (2018): 195.
Hager, Charles. “Subtlety to Stridency.” New York Times, June 18, 1993.
Heartney, Eleanor. “Review of Exhibitions: Howardena Pindell at Cyrus.” Art in America 78, no. 2 (1990): 171–172.
Heinrich, Will. “All Kinds of Borders to Cross.” New York Times, September 10, 2017.
Hill, Shawn. “The Politics of ‘Getting in’.” Bay Windows 9, no. 3 (1991): 19, 22.
Hine, Thomas. “Shows at PAFA—Intimate and Communal—Generations of Black Artists.” Philadelphia Inquirer, March 7, 2020.
Hirsch, Faye. “Reviews: Howardena Pindell at Sragow.” Art in America 92, no. 8 (2004): 132–33.
Holmes, Jessica. “Howardena Pindell: Paintings, 1974-1980.” Brooklyn Rail (June 2014): 62.
“Howardena Pindell: Free, White and 21” BMA Today, no.162 (Winter/Spring 2020): 8.
“Howardena Pindell.” Wall Street International, November 22, 2017.
“Howardena Pindell: Paintings, 1975-1980.” New Yorker 90, no. 11 (2014): 9.
Jeppesen, Travis. “Queer Abstraction (or How to Be a Pervert with No Body).” Mousse Magazine 66 (2019): 182–91.
Jordan, Candace. “MCA Benefit Art Auction Raises Record-Breaking $6 Million.” Chicago Tribune, November 25, 2019.
Kenney, Nancy. “Embracing the Visual Overload: Los Angeles Show Celebrates the Pattern and Decoration Movement.” Art Newspaper, February 11, 2020.
Kennicott, Philip. “They’re Women, They’re Black and They Don’t Make Art About That.” Washington Post, November 1, 2017.
Korman, Sam. “House of Language: Some Words for Actvisim and Art.” ArtReview 69, no. 8 (2017): 66–69.
Koslow, Francine A. “Reviews: Howardena Pindell.” Artforum 27, no. 8 (1989): 167.
Knight, Christopher. “Review: More is More. Why the ‘Pattern and Decoration’ Show at MOCA is Pure Pleasure.” Los Angeles Times, November 4, 2019.
Lorber, Richard. “Women Artists on Women in Art.” Portfolio 2, no. 1 (1980): 68–73.
Lubell, Ellen. “Review of Exhibitions: Howardena Pindell at Lerner-Heller.” Art in America 69, no. 9 (1981): 173–174.
MacAdam, Barbara A. “The New Abstraction.” Art News 106, no. 4 (2007): 110–115.
Mahoney, Joe. “Editorial: That Certain Light Rises from the Shadows.” Richmond Times-Dispatch, September 9, 2018.
“Masterful Creations: Howardena Pindell.” Vogue UK (May 2019): 89.
McCombie, Mel. “Howardena Pindell.” Arts Magazine 64, no. 1 (1989): 77.
McNally, Owen. “A Search for Memories Marks Pindell’s Work.” Hartford Courant, March 24, 1989.
McQuaid, Cate. “At the Wadsworth Atheneum, Art by African-Americans Rejoices in the Sacred.” Boston Globe, December 4, 2019
“MFA presents Marks Made: Prints by American Women Artists.” TBN Weekly, October 12, 2015.
Mitter, Siddhartha. “Revolutionary Sisters.” Village Voice 62, no. 13 (2017): 20–24.
Moffitt, Evan. “Howardena Pindell.” Frieze, no. 175 (2015): 166–167.
Morrison, Keith. “The Emerging Importance of Black Art in America.” New Art Examiner 7, no. 9 (1981): 1, 4–5.
“Museum Previews: Howardena Pindell.” Art in America 105, no. 7 (2017): 44.
Nelson, James R. “Pindell Art Has Vitality in Imagery.” Birmingham News, February 10, 1985.
Nelson, Kalia Brooks. “Previews: ‘Howardena Pindell: What Remains to be Seen.’” Artforum 56, no. 5 (2018): 76.
Nemser, Cindy. “A.I.R.” Arts Magazine 47, no. 3 (1973): 58–59.
———. “Art Mailbag.” New York Times, November 4, 1973.
Nittle, Nadra. “Celebrating the Power and Persistence of Black Women Artists Who ‘Wanted a Revolution.’” Atlanta Black Star, August 15, 2017.
O’Grady, Megan. “Beneath Every Surface Lies an Identity.” The New York Times, February 21, 2021, 70–75.
Ording, Philip. “Picturing Math: Selections from the Department of Drawings and Prints at The Metropolitan Museum of Art, New York.” The Mathematical Intelligencer 39, no. 3 (2017): 1–4.
Pagel, Caryl. “What Remains to be Seen.” Brick, no. 103 (2019): 44–53.
Panero, James. “Seeing Her Worldview in a Circle.” Wall Street Journal, September 4, 2018.
———”‘Generations: A History of Black Abstract Art’ and ‘Afrocosmologies: American Reflections’ Reviews: Finding a Legacy or Losing the Thread?” Wall Street Journal, December 3, 2019.
Perreault, John. “Artbreakers: New York’s Emerging Artists.” SoHo News 7, no. 51 (1980): 33, 43.
——— “Positively Black.” SoHo News 7, no. 22 (1980): 49.
Pindell, Howardena. “The Artists’ Artists.” Artforum 55, no. 4 (2016): 104.
———. “Art (World) & Racism.” Third Text 2, nos. 2-4 (1988): 157-190.
———. “Art World Racism: A Documentation.” New Art Examiner 16, no. 7 (1989): 32–36.
———. “Breaking the Silence.” New Art Examiner 18, no. 3 (1990): 23–27, 50–51.
———. “Make a Political Statement.” Art-Rite, no. 6 (Summer 1974): 25.
———. “Making Space for Ourselves.” Art in America 106, no. 1 (2018): 41.
———. “Portfolio.” Callaloo 41, no. 1 (2018): 101–108.
Pogrebin, Robin. “With New Urgency, Museums Cultivate Curators of Color.” New York Times, August 8, 2018.
Pousner, Howard. “Howardena Pindell comes full circle at Spelman College Museum.” Atlanta Journal Constitution, August 24, 2015.
Quinton, Jared. “Beverly Buchanan: Ruins and Rituals.” Brooklyn Rail (December 2016).
Ratcliff, Carter. “The Paint Thickens.” Artforum 14, no. 10 (1976): 43–47.
———. “Review of Exhibitions: Howardena Pindell at Just Above Midtown.” Art in America 66, no. 2 (1978): 140.
———. “The Whitney Annual, Part I.” Artforum 10, no. 8 (1972): 28–32.
Rubinstein, Raphael. “The Hole Truth.” Art in America 102, no. 10 (2014): 128—135.
———. “Annals of Painting: It’s Not Made by Great Men.” Art in America 95, no. 8 (2007): 61–67.
Russell, John. “Abstractions from Afro-America.” New York Times, March 14, 1980.
———. “Howardena Pindell.” New York Times, April 18, 1980.
———. “Where to See New Artists.” New York Times, June 8, 1979.
Schama, Chloe. “Visual Vitamins: Glitter-à-Go-Go.” Vogue 208, no. 1 (2018): 30.
Schuetze, Christopher F. “Film Carves Out Its Place at Art Basel in Miami.” New York Times, December 2, 2015.
Schwabsky, Barry. “Kerry James Marshall’s Enigmatic Authority.” The Nation, January 18, 2017.
———. “The Struggle to Resolve.” The Nation, December 14, 2018.
Schwendener, Martha. “Reviews: Howardena Pindell.” Artforum 43, no. 1 (2004): 272.
———. “New York Galleries: What to See Right Now: ‘Painters Reply.’ New York Times, July 31, 2019.
Schwendenwien, Jude. “The Fleeting Beauty of a Mandala.” Hartford Courant, February 4, 1996.
Sheets, Hilarie M. “Black Abstraction: Not a Contradiction.” Art News 113, no. 6 (2014): 62–70.
———. “Hidden Lights.” Art News 116, no. 1 (2017): 60–65.
———. “Hailed After 70, Black Artists Find Success, Too, Has a Price.” New York Times, Sunday March 24, 2019.
———. “Feminists Arm Themselves with Art.” New York Times, March 8, 2020.
———. “Helping Black Artists, But at What Price?” New York Times, May 3, 2020.
Sims, Lowery Stokes. “The Mirror/The Other.” Artforum 28, no. 7 (1990): 111–115.
———. “Synthesis and Integration in the Work of Howardena Pindell, 1972–1992, A (Re) Consideration.” Callaloo 41, no. 1 (2018): 92–100.
Smee, Sebastian. “These women are some of America’s greatest artists. Why don’t they get the respect they deserve?” Washington Post, April 11, 2018.
Smith, Roberta. “Arts Reviews: Howardena Pindell.” Arts Magazine 47, no. 4 (1973): 78.
———. “Art Review: Revealing a Secret Art Life: A Painter’s Sculptures.” New York Times, September 6, 2018.
Spence, Rachel. “Howardena Pindell on Politics, Racism and Late Success.” Financial Times, June 7, 2019
Sprecher, David. “Howardena Pindell: What Remains to be Seen.” Brooklyn Rail, April 4, 2018.
Steinhauer, Jillian. “Galleries: Howardena Pindell at Garth Greenan Gallery,” New York Times, November 22, 2019.
Steger, Martha. “Art and Activism: Howardena Pindell at Virginia Museum of Fine Arts.” Free Lance-Star, September 6, 2018.
Syrek, David. “MCA’s Record Breaking Night of Art—And Style.” Chicago Tribune, December 2, 2019.
Szakmary, Chase, “Howardena Pindell Discusses Covid, BLM, and Her Upcoming Show “Rope/Fire/Water at The Shed”, White Hot Magazine, September, 2020.
Taft, Catherine. “Howardena Pindell.” Artforum 54, no. 4 (2015): 267.
Temin, Christine. “Fighting Racism in the Art World.” Boston Globe, February 7, 1989.
Thomas, M. “Carnegie and Studio Museum in Harlem Share a Vision in New ’20/20’ Exhibition.” Pittsburgh Post Gazette, July 16, 2017.
Verdino-Sullwold, Carla Maria. “Howardena Pindell: Volcanic View of the Self.” Crisis 97, no. 1 (1990): 13, 38.
Waxman, Lori. “Abstraction, Explained.” Chicago Tribune, May 31, 2018.
———. “The Diverse, Dizzying Majesty of Howardena Pindell.” Chicago Tribune, April 25, 2018.
Williams, Kesha. “Howardena Pindell Exhibit Opening at VMFA.” Richmond Free Press, August 23, 2018.
Wilson, Judith. “Howardena Pindell Makes Art that Winks at You.” Ms. Magazine 8, no. 11 (1980): 66–70.
Winerip, Michael. “Computerized Billboard Brightens Up Times Square with Art-of-the-Month.” New York Times, August 26, 1983.
Young, Lisa Jaye. “When Racism and Sexism are No Longer Fashionable.” Artpulse 9, no. 31 (2018): 28–25.
“Your Concise New York Art Guide for October 2020”, Hyperallergic, October 5, 2020.
Ziv, Stav. “Still Blazing Trails.” Long Island Living (Summer 2019): 71–73.
