In this article, occasioned by the fiftieth-anniversary of the Whitney Independent Study Program, art-historian Huey Copeland considers the vexed intersections of blackness, gender, and institutional critique in the contemporary art world as modeled both by his own practice and that of David Hammons.

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© 2019 October Magazine, Ltd. and Massachusetts Institute of Technology
2019
October Magazine, Ltd. and Massachusetts Institute of Technology
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