Thomas takes inspiration from both the 1969 moon landing and her backyard garden Alma Thomas, Lunar Rendezvous—Circle of Flowers by Alejo Benedetti, Crystal Bridges Museum of American Art and Dr. Steven Zucker
A plaster cast of a manhole cover from the streets of Manhattan is a testament to this artist's experimental use of materials Sari Dienes, Star Circle by Dr. Sarah Eckhardt and Dr. Steven Zucker
Cartoonish coyotes play on Fonseca's overlapping identities as queer, American, and Indigenous. Harry Fonseca, Two Coyotes with Flags by Roxanne Beason and Dr. Steven Zucker
Light and color take center stage in this soul illustration of the Oklahoma landscape where Echohawk and his family have lived for generations. Brummett Echohawk, An Island of Redbuds on ... by Diana Folsom and Dr. Lauren Kilroy-Ewbank
Stripes of industrial spray paint on this canvas recall the industrial city and undersides of highways Hedda Sterne, Number 3—1957 by Dr. Sarah Eckhardt and Dr. Steven Zucker
Lewis leaves behind the figure for abstracted fragments at the end of World War II Norman Lewis, Untitled by Dr. Shawnya L. Harris and Dr. Steven Zucker
Sam Gilliam trespasses the distinction between painting and sculpture Sam Gilliam, Purpled (Chasers Series) by Valerie Cassel Oliver, Virginia Museum of Fine Arts and Dr. Steven Zucker
Gee's Bend quilts challenge notions of what is — and what is not — modern art Gee’s bend, quilting over generations by Valerie Cassel Oliver, Virginia Museum of Fine Arts and Dr. Beth Harris
Charles Sebree expresses his inner self in The Mystic. Representing the inner self: Charles Sebree’s The ... by Dr. Jeffrey Richmond-Moll, Dr. Shawnya L. Harris and Dr. Beth Harris
An International Style gem on Park Avenue Mies in Manhattan, mid-fifties modern: The Seagram ... by Dr. Matthew A. Postal and Dr. Steven Zucker
Bearden thought about painting like music. Romare Bearden, Three Folk Musicians by Dr. Sarah Eckhardt, Dr. Leo G. Mazow and Dr. Steven Zucker
Delaney celebrates the famous opera singer Marian Anderson as a modern icon of Black excellence and civil rights A modern icon: Beauford Delaney’s Marian Anderson by Dr. Shawnya L. Harris and Dr. Steven Zucker
Is the bird real or imagined? Thelma Streat, Girl with Bird by Dr. Shawnya L. Harris and Dr. Beth Harris
Perhaps the largest relief sculpture in the world, this Confederate memorial is an expression of 20th and 21st century racial politics. The Long History of Stone Mountain, Georgia by Dr. Beth Harris and Dr. Steven Zucker
This swaying juke joint belies its purpose as the central meeting place enlivened by music and dance in many African American communities, but its jubilance is tempered by the painting's ominous atmosphere A Memphis juke joint by Dr. Shawnya L. Harris and Dr. Steven Zucker
There is no open road here. Cars, highways, and isolation in Postwar America by Dr. Peter John Brownlee, Curator, Terra Foundation for American Art and Dr. Steven Zucker
Buttons, flags, and booze — Ben conjures up a specific time and place. Politics and humanity in 1970s New York by Dr. Halona Norton-Westbrook, Toledo Museum of Art and Dr. Beth Harris
Museum visitors often mistake this sculpture for a real person Disillusionment in 1970s America by Dr. Halona Norton-Westbrook, Toledo Museum of Art and Dr. Steven Zucker
At this party, everyone has the same face and seems profoundly alone. Fashion & alienation in 1960s New York by Dr. Halona Norton-Westbrook, Toledo Museum of Art and Dr. Steven Zucker
From the Manhattan Project to nursery rhymes, a collision of art and science. If All the World Were Paper… by Emma Acker at the Fine Arts Museums of San Francisco and Dr. Beth Harris