CURRENT
Repossessions
Spelman College Museum of Fine Art
440 Westview Drive, Atlanta, GA 30310
October 17, 2025 – May 1, 2026
The Slaughter List, Illuminated (2026) is included in Repossessions. Repossessions brings Black artists together to transform documents and objects from the era of enslavement into powerful works of truth and repair. Curated by Dr. Bridget R. Cooks, the exhibition reclaims these artifacts to confront the legacy of slavery through bold re-imagination. More information here. Artists included: Chelle Barbour, Marcus Brown, Rodney Ewing, Shanequa Gay, Kenyatta A.C Hinkle/Olomidara Yaya, Curtis Patterson, and Lava Thomas.
Looking Back IV, 2021. Photo by John Janca.
EXPO CHICAGO 2026
Navy Pier, Chicago, IL 60611
April 9-12, 2026
Jessica Silverman, Booth 316
I'm thrilled to be exhibiting Looking Back III and Looking Back IV with Jessica Silverman at Expo Chicago.Jessica Silverman is included in the Profile section of the fair, curated by Essence Harden. Harden—also curator of the Focus section at Frieze Los Angeles and Made in LA 2025 at the Hammer Museum—brings a deeply considered, scholarly approach shaped by her work across leading institutions. Read more about Profile and the galleries included here. My work will be shown alongside Sadie Barnett, David Huffman, and Koak.
Resistance Reverb: Movements 1 & 2, 2018. Photo: Tom Fox, The Dallas Morning News.
Resistance and Reverb: Movements 1 & 2
HALL Arts Hotel
1717 Leonard St., Dallas, TX 75201
Resistance and Reverb: Movements 1 & 2 (2018) is currently on view and permanently installed at HALL Arts Hotel in Dallas, Texas. The immersive installation features over 600 tambourines whose pink surfaces evoke the Women’s Marches of January 2017 and moments of feminist activism from the 1980s and 1990s. Dispersed within the cloud of tambourines are fragments of political speeches excerpted from past and present voices of women's resistance–ranging from Sojourner Truth's 1851 speech, "Ain't I a Woman," to Alicia Garza's powerfully succinct message, "Black Lives Matter.” The installation fuses historic and contemporary expressions of activism into a unified statement of solidarity, resilience, and resistance. The distinct elements of the installation represent a multiplicity united in solidarity, yet still retaining individual agency: power placed directly in the hands of the people.
Euretta F. Adair, 2018, part of the series Mugshot Portraits: Women of the Montgomery Bus Boycott. Graphite and Conté pencil on paper, 47x33.25 in.
Reckoning: Protest. Defiance. Resilience.
Smithsonian National Museum of African American History & Culture
1400 Constitution Ave, NW, Washington, D.C. 20560
September 10, 2021 – Ongoing
Euretta F. Adair is included as part of an ongoing exhibition at the Smithsonian National Museum of African American History & Culture. Reckoning: Protest. Defiance. Resilience tells stories of injustice, resistance and courage—and looks at the ways in which visual art has long provided its own protest, commentary, escape and perspective for African Americans.
Learn more about the exhibition here.