•  Installation Shots From: Pangaea: New Art From Africa And Latin America
    Pangaea: New Art From Africa And Latin America
  •  Installation Shots From: Pangaea: New Art From Africa And Latin America
    Pangaea: New Art From Africa And Latin America
  •  Installation Shots From: Pangaea: New Art From Africa And Latin America
    Pangaea: New Art From Africa And Latin America
  •  Installation Shots From: Pangaea: New Art From Africa And Latin America
    Pangaea: New Art From Africa And Latin America
  •  Installation Shots From: Pangaea: New Art From Africa And Latin America
    Pangaea: New Art From Africa And Latin America
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Current Exhibition

Wangechi Mutu EXHIBITED AT THE SAATCHI GALLERY

Adult Female Sexual Organs
Wangechi Mutu
Adult Female Sexual Organs

2005

packing tape, fur, collage on found medical illustration paper

46 x 31cm
Wangechi Mutu observes: “Females carry the marks, language and nuances of their culture more than the male. Anything that is desired or despised is always placed on the female body.” Piecing together magazine imagery with painted surfaces and found materials, Mutu’s collages explore the split nature of cultural identity, referencing colonial history, fashion and contemporary African politics. In Adult Female Sexual Organs, Mutu uses a Victorian medical diagram as a base: an archetype of biased anthropology and sexual repression. The head is a caricatured mask – made of packing tape, its material makes reference to bandages, migration, and cheap ‘quick-fix’ solutions. Mutu portrays the inner and outer ideals of self with physical attributes clipped from lifestyle magazines: the woman’s face being a racial distortion, her mind occupied by a prototypical white model. Drawing from the aesthetics of traditional African crafts, Mutu engages in her own form of story telling; her works document the contemporary myth-making of endangered cultural heritage.

Quote from: Merrily Kerr, Wangechi Mutu's Extreme Makeovers, Art On Paper, Vol.8, No. 6, July/August 2004. posted on:

http:// www.akrylic.com/contemporary_art_article73.htm
Cancer of the Uterus
Wangechi Mutu
Cancer of the Uterus

2005

Glitter, fur, collage on found medical illustration paper

46 x 31cm
Wangechi Mutu’s collages seem both ancient and futuristic; her figures aspire as a super-race, by-products of a troubled and imposed evolution. In Cancer of the Uterus, her figure is an ominous goddess; pasted over a pathology diagram, her portrait is diseased at the core. Mutu uses materials which make reference to African identity and political strife: her dazzling black glitter is an abyss of western desire, which allude to the illegal diamond trade and its consequences of oppression and war. From corruption and violence, Mutu creates a glamorous beauty; her figures empowered by their survivalist adjustment to atrocity, made immune and ‘improved’ by horror and being victims.
Complete Prolapsus of the   Uterus
Wangechi Mutu
Complete Prolapsus of the Uterus

2004

Glitter, ink, collage on found medical illustration paper

46 x 31cm
Wangechi Mutu trained as both a sculptor and anthropologist. Complete Prolapsus of the Uterus illustrates the marriage of these interests. Through collage, Mutu capitalised on the two-sided nature of her materials, conveying both the content and physicality of their sources. In using old medical diagrams, her collages carry the authenticity of artefact, as well as an appointed cultural value. In Complete Prolapsus of the Uterus Mutu contrives a racial hybrid: a puckered, prudish white face masks an ancient tribal wisdom. Mutu examines how ideology is implicitly tied to corporeal form. She cites a European preference of physique, inflicted on and adapted by Africans, resulting in hierarchical difference and genocide.
Ectopic Pregnancy
Wangechi Mutu
Ectopic Pregnancy

2004

Glitter, ink, collage on found medical illustration paper

46 x 31cm
Wangechi Mutu’s collage process mimics amputation, transplant operations and torturous prosthetics. Her figures become parody mutilations, their forms grotesquely marred through perverse modification, echoing the atrocities of war or self-inflicted improvements of plastic surgery. In Ectopic Pregnancy, Mutu converts an image of reproductive malfunction into a stillborn expression; the mouth/vagina bloodied and empty, her scarred figure struggling to voice her identity. Mutu designs this portrait with sex-organs as face, dressed up with glistening hair and lip-gloss: a freakish pastiche of feminine ideals.
Uterine Catarrh
Wangechi Mutu
Uterine Catarrh

2004

Glitter, ink, collage on found medical illustration paper

46 x 31cm
“There's this constant movement towards historicising Africa, turning it into this archaic place.” Wangechi Mutu explains, “… Part of my challenge…is to envision, not so much blackness as a race, but the existence of African elements in culture in the future and how is that possible.” The figure in Mutu’s Uterine Catarrh is both shaman and cyborg. Composed on antique paper, her figure shifts between totem and technological invention, the yellowed ground giving an aura of historical reverence to the modern gleen of shiny magazine cartridge. Mutu wittily positions the figure over her found medical illustration, rendering it with a ‘third eye’; a speculum portal of wisdom and vision.
Histology of the Different Classes of Uterine Tumours
Wangechi Mutu
Histology of the Different Classes of Uterine Tumours

2004

Glitter, ink, collage on found medical illustration paper

46 x 31cm
In Histology of Different Classes of Uterine Tumors, Wangechi Mutu readily confuses epidemiology with anthropological classification. Mutu satirically identifies her ‘disease’ as a sub/post-human monster, an equally primitive and prophetically alien species. Repulsive and ludicrous, Mutu’s figure is also controversially attractive: its fur face and stardust afro an epitome of funkadelic chic. Histology… embodies a notion of identity crisis, where origination and ownership of cultural signifiers becomes an unsettling and disputed terrain.
Tumours of the Uterus
Wangechi Mutu
Tumours of the Uterus

2005

collage on found medical illustration paper

45.7 x 32.4cm
In her series Histology of the Different Classes of Uterine Tumour, Wangechi Mutu uses 19th century medical diagrams as a basis for invented portraiture. The original illustrations, symbolic of colonial power, suggest a wide range of cultural pre-conceptions: from the ‘superiority’ of European ‘knowledge’ to the classification of nature (and consequently race) into genealogical hierarchies. In Uterine Tumor, Mutu challenges these imposed values, using physical disease as a metaphor for social corruption.
Indurated Ulcers of the Cervix
Wangechi Mutu
Indurated Ulcers of the Cervix

2005

collage on found medical illustration paper

45.7 x 32.4cm
Pasting images taken from porn and fashion magazines over a prudish diagram of vaginal infections, Wangechi Mutu examines the perception of female sexuality. Her amalgamated portrait capitalises on the contradictions of role expectations: as western media ideal, sex goddess, and mother. Contorted in anger and crowned by black diamond dust, Mutu’s figure becomes both victim and warrior, alluding to the repercussions of female exploitation in both Africa and the west: from prostitution to sexual war crimes.
Fibroid Tumors of the Uterus
Wangechi Mutu
Fibroid Tumors of the Uterus

2005

collage on found medical illustration paper

45.7 x 32.4cm
Encapsulating the shifting identity of African culture, Wangechi Mutu draws upon existing stereotypes to construct a ‘new and improved’ race reflective of traditional values, survival of historical oppression, and thriving participation in global trend. Her Uterine Tumour portrays a figure derived of cross-cultural sources: sensuous too-big lips, suntanned gam, funky glitter, and too-cool shades pasted over a found medical diagram creates a strong and tres chic character, master of his own endemiology.
Cervical Hypertrophy
Wangechi Mutu
Cervical Hypertrophy

2005

collage on found medical illustration paper

45.7 x 32.4cm
Wangechi Mutu’s collages confront with brutal aggression; her pastiched characters become perverse amalgamations of physical and cultural ‘ideals’. In Uterine Tumour, Mutu’s male figure is assembled of mismatched body parts clipped from magazines, each an isolated feature of epitomised beauty: chiselled cheekbones, kiss-me lips, petite ears, and smouldering eyes. Together, they become a grotesque mask of racial parody. Centred over a medical illustration, her composite of physical ‘perfection’ becomes a model of contamination.
Primary Syphilitic Ulcers of the Cervix
Wangechi Mutu
Primary Syphilitic Ulcers of the Cervix

2005

collage on found medical illustration paper

45.7 x 32.4cm
Wangechi Mutu harnesses the fear of the unfamiliar as a tool of power. Formed from cut and paste, Mutu’s creations are hybrids of multiple sources referencing the scars of cultural imposition. Placed atop medical diagrams, they feed off their cancerous classifications, directly confronting cultural preconception and bias. Set around image of an invasive gynaecological procedure, the woman in Primary Syphilitic Ulcers of the Cervix garners her strength from the source of her molestation. Disaffected and immune, Mutu’s distressing figure is comprised of the horrific myths of our own making.
Ovarian Cysts
Wangechi Mutu
Ovarian Cysts

2005

collage on found medical illustration paper

45.7 x 32.4cm
Wangechi Mutu uses collage as a metaphor for the shifting concepts of global identity. In Ovarian Cysts Mutu unites a medical diagram, an archaeological photograph, and kitsch advertisement within a glittery death-head; each element conveying disjointed and dislocated associations of Africa. Drawing from colonialism, ancient history, contemporary politics, and lifestyle ideals, Mutu creates an emblem of tribute, encompassing both a tormented past and powerful future.
Mask
Wangechi Mutu
Mask

2006

mixed media collage

collage
Wangechi Mutu’s Mask draws provocative comparison between archaeology and sexual fetishism. Pasted over the photo of a museum relic, her saucy model becomes a temptress of caricatured exotica. Encasing the woman’s body and face in a cut out of a voodoo sculpture, Mutu envelops her cover girl as a product of typecast desire and roleplay: warrior-princess, s&m freak, chastity-belted virgin. Overlapping the controversial facets of cultural association, Mutu’s figure beacons as a subversive dominatrix, shrewdly co-opting the rules of hierarchy, power, and manipulation.
Backlash Blues
Wangechi Mutu
Backlash Blues

2004

ink, acrylic, photocollage, contact paper, on mylar

198 x 119.4 cm
Painted on mylar, Wangechi Mutu’s Backlash Blues conveys an otherworldly quality: the paint and ink suspends on the plasticy vellum-like surface with an unnatural luminosity. Using a variety of techniques from airbrush to stencilling, controlled spills, and detailed brushwork, Mutu’s image poses as a composite of gesture; collaged photographic elements merge seamlessly into the painterly aesthetic. Incorporating both the organic patterns of dyed fabric and the exaggerated flourish of fashion illustration, Mutu’s wild figure exudes an apocalyptic glamour, fusing tribal ‘primitivism’ with the exotica of radical chic.
My Strength Lies
Wangechi Mutu
My Strength Lies

2006

ink, acrylic, photo collage, contact paper, on Mylar

228.6 x 137.2 cm
Ghouls On My Back Celebrate Murder
Wangechi Mutu
Ghouls On My Back Celebrate Murder

2003

mixed media on mylar

90 x 61 cm
Wangechi Mutu uses collage as a means of both physically and conceptually bringing layered depth to her work. Using images cut from fashion magazines, National Geographic, and books about African art, Mutu pieces together figures which are both elegant and perverse. Individual body parts comprised of found ’objects’ are made to seem like odd prosthetics glued over torsos and limbs drawn in ink.

In Untitled, Mutu’s surface uses these conflicting textures to draw a wide range of connotations: from glamour models, to dyed fabrics, diseased skin, and science fiction special effects. Her goddess-like figure becomes an embodiment of the disjointed facets of modern Africa, caught in the flux of Western preconception, internal turmoil, ancient tradition, and blossoming future.
Untitled
Wangechi Mutu
Untitled

2004

Mixed media collage and painting on vellum

44.5 x 47cm
In Untitled, Wangechi Mutu creates a glamorous, yet barbaric centrefold. Working in painting and collage on paper, Mutu exploits the physical qualities of her media to create a self-referential sensuality: the translucent crispness of the vellum relates easily to film, spilled paint stains diffuse as the subtle bruised texture of skin, and cut out blond hair and gams lend an appropriated lusty ideal. In picturing female sexuality, Mutu offers a futuristic totality of womanhood that’s both fiery and liberated. Comprised of motorcycle parts, she’s a machine built for speed: corpulent, sexy, with the dazzling power creation.






Other artists in
Artists in future exhibitions

Caroline Achaintre    Rebecca Ackroyd    Markus Amm    Helene Appel    Ivan Argote    Dan Attoe    Diann Bauer    Michael Bauer    Dan Bayles    Simon Bedwell    Anna Freeman Bentley    Emilia Bergmark    Katherine Bernhardt    Gabriele Beveridge    Richard Billingham    Alina and Jeff Bliumis    Gabriella Boyd    Matti Braun    Bozidar Brazda    Jonny Briggs    David Brooks    Joey Bryniarska    Agnieszka Brzezanska    Loz Chalk    Ronin Cho    James Clarkson    Lucy Coggle    Andy Collins    Inez de Coo    Jessica Craig-Martin    Ana Cvorovic    Ian Davis    Nicholas Dedics    Tomory Dodge    Robert Dowling    Stef Driesen    Howard Dyke    Ara Dymond    Judith Eisler    Annabel Emson    Carlos Noronha Feio    Dee Ferris    Luc Fuller    Michael Fullerton    Dmitri Galitzine    Julia Goldman    Hilary Harnischfeger    Chris Hawtin    Kati Heck    David Herbert    Patrick Hill    Dan Holdsworth    Phillipa Horan    Shara Hughes    Elliot Hundley    Tom Hunter    Jessica Jackson Hutchins    Merlin James    Tillman Kaiser    Alice Könitz    Terence Koh    John Korner    Ulrich Lamsfuss    Liane Lang    Molly Larkey    Paul Lee    Andrea Lehmann    Juliette Losq    Christina Mackie    Jill Mason    Claire McArdle    Ella McCartney    Lucy McKenzie    Martin McMurray    Turay Mederic    Robert Melee    Ian Monroe    Kristine Moran    Eduard Moreno    Yasumasa Morimura    Luisa Mota    Nick Nowicki    Matt O'dell    Marco Palmieri    Selma Parlour    Oliver Perkins    Marius Pfannenstiel    Alejandra Prieto    Arthur Prior    Max Prus    R.H. Quaytman    Neil Raitt    Sean Raspet    Brian Reed    Halsey Rodman    Florian Roithmayr    Ruth Root    Stefan Sandner    Hideyuki Sawayanagi    Amba Sayal-Bennett    Anne Kathrin Schuhmann    Michael Schultz    Macrae Semans    Conrad Shawcross    Jamie Shovlin    Agathe Snow    Martina Steckholzer    Jack Strange    Miriam Sweeney    Emma Talbot    Mateo Tannatt    Stephanie Taylor    Adam Thompson    Rafal Topolewski    Ryan Trecartin    Caroline Walker    Ben Washington    Chuck Webster    Aaron Wexler    Poppy Whatmore    Julia Whiting    Jenny Wiener    Susanne M. Winterling    Saskia Olde Wolbers     Yeesookyung    Haeri Yoo

Wangechi Mutu's BIOGRAPHY

Wangechi Mutu
Born in 1972, Nairobi, Kenya
Lives and works in New York



SELECTED SOLO EXHIBITIONS


2011
Il Capricorno, Venice, Italy

2010
Hunt Bury Flee, Gladstone Gallery, New York, NY
My Dirty Little Heaven Deutsche Guggenheim, Berlin, Germany; traveled to Wiels Contemporary Museum, Brussels, Belgium
This you call civilization? Art Gallery of Ontario, Toronto, Canada

2009
Museum of Contemporary Art, San Diego, CA

2008
Wangechi Mutu:In Whose Image? Kunsthalle Wien Museum, Project Space Karlsplatz, Curated by Angela Stief, Vienna, Austria
Little Touched, Susanne Vielmetter Gallery, Los Angeles, CA

2007
YO.N.I, Victoria Miro Gallery, London, UK
The Cinderella Curse, ACA Gallery of SCAD, Atlanta, GA
Cleanning Earth, Franklin Artworks, Minneapolis, MN

2006
An Alien Eye and Other Killah Anthems, Sikkema Jenkins Co, New York, NY
Exhuming Gluttony: A Lover’s Requiem, Salon 94, New York, NY
Sleeping Heads Lie, Power House, Memphis, TN

2005
The Chief Lair’s A Holy Mess, The San Francisco Museum of Modern Art, San Francisco, CA (Brochure)
Wangechi Mutu - Amazing Grace, Miami Art Museum, Miami, FL (Brochure)
Problematica, Susanne Vielmetter Los Angeles Projects, Los Angeles, CA

2004
Hangin In Texas, Art Pace, San Antonio, TX

2003
Pagan Poetry, Susanne Vielmetter Los Angeles Projects,
Los Angeles, CA
Creatures, Jamaica Center for the Arts and Learning, Queens,NY


SELECTED GROUP EXHIBITIONS


2012
30 Americans, The Corcoran Gallery of Art, Washington

2011
Stargazers:Elizabeth Catlett in Conversation with 21 Contemporary Artists, Bronx Museum, NY
Seeing Is a Kind Of Thinking: A Jim Nutt Companion, Museum of Contemporary Art, Chicago
Twisted Selves, University of California Riverside Museum of Photography, Riverside, CA
Alles Kannibalen?Me - Collector's Room, Berlin, Germany
Taguchi Art Collection-Global New Art, Sompo Japan Museum of Art, Tokyo, Japan
30 Americans, Concoran Gallery of Art Washington, DC

2010
Faces, Calleria Monica de Cardenas, Milan, Italy
At Home/Not at Home: Works from the Collection of Martin and Rebecca Eisenberg, curated by Matthew Higgs, Hessel Museum of Art/Center for Curatorial Studies, Bard College, Annandale-on-Hudson, NY
Disquieted: Contemporary Voices from Out of the Shadows, Portland Art Museum, Portland, OR
Until Now: Collecting the New 1960-2010, Minneapolis Institute of Art, Minneapolis, MN
The Secret Life of Trees, Monica de Cardenas Galleria, Zuoz, Switzerland
Disidentification, Goteborgs Konsthalle, Goteborgs, Sweden
The Modern Myth: Drawing Mythologies in Modern Times, Museum of Modern Art, New York, New York
Afro-Modern: Journeys through the Black Atlantic, Tate Liverpool, Liverpool
The Visible Vagina, David Nolan, New York
Inaugural Group Exhibition, Susanne Vielmetter Los Angeles Projects, Los Angeles, CA
Visceral Bodies, Vancouver Art Gallery, Vancouver, BC
Contemplating the Void, Guggenheim, New York, NY

2009
Performa 09, Performa Biennial, New York, NY
Collection: MOCA’s First Thirty Years, Museum of Contemporary Art, Los Angeles
The Spectacle of the Everyday, Biennale d’art Contemporain de Lyon, Lyon
Dress Codes: The Third ICP Triennial of Photography and Video,” International Center of Photography, New York
Wishful Thinkers, Milk Gallery Project, New York, NY
Paint Made Flesh, The Phillips Collection, Washington DC, MD
Damaged Romanticism, Grey Art Gallery, New York University, New York, NY
Black Womanhood, San Diego Museum of Art, San Diego, California
Collected, Studio Museum in Harlem, New York, NY
Sortilége, Fondation pour L’art Contemporain, Claudine et Jean-Marc Salomon, Alex, France
Off the Beaten Path: Violence, Women and Art, Art Works for Change, Stenersen Museum, Oslo, Norway
Under the Knife, Armory Center for the Arts, Pasadena, CA
Paint Made Flesh, First Center for the Visual Arts, Nashville, TN

2008
Whitney Gala Auction, Whitney Museum, New York, NY
30 Americans, Rubell Family Collection, Miami, FL
Objects of Value, Miami Art Museum, Miami, FL
Videostudio, Studio Museum in Harlem, New York, NY
Eros: Love, Lust and its Consequences, Richard L. Feigen & Co., New York, NY
Art Gallery of Ontario: Grand opening of the New Contemporary Tower,” Toronto, Canada
Prospect.1 New Orleans, Biennial of International Contemporary Art, Curated by Dan Cameron, New Orleans, LA
Excert, Selections from the Jeanne Greenberg Rohatyn Collection, The Frances Lehman Loeb Art Center, Vassar College Poughkeepsie, NY
Damaged Romanticism: A Mirror of Modern Emotion, Blaffer Gallery – The Art Museum of the University of Houston, Houston, TX
U-Turn: Quadrennial for Contemporary Art Center, Copenhagen, Denmark
Pandora’s Box, Dunlop Art Gallery, Saskatchewan, Canada
In the Land of Retinal Delights: The Juxtapoz Factor, Laguna Art Museum, CA
Black Woman Hood: Images, Icons, and Ideologies of the African Body, Hood Museum of Art, Dartmouth College, Hanover, NH
Collage: The Unmonumental Picture, New Museum, New York, NY

2007
Body Politic, Branch Gallery, Durham, NC
Star Power: Museum As Body Electric, Museum of Contemporary Art Denver, Curated by Cydney Payton, Denver CO
Every Revolution is a Roll of the Dice, Ballroom Marfa, Curated by Bob Nickas, Marfa, TX
Fractured Figure, Curated by Jeffrey Deitch, Athens, Greece
global feminisms: New Directions in Contemporary Art, Brooklyn Museum, Curated by Maura Reilly, Brooklyn,NY

2006
(re)Volver, Plataforma Revolver, Curated by Filipa Oliveira Lisboa, Portugal
New York Interrupted, PMK Gallery, Curated by Dan Cameron, Beijing, China
The New Collage, Pavel Zoubok Gallery, New York, NY
USA TODAY, Royal Academy of the Arts, London, UK
The UNHOMELY: 2 nd Biennial Contemporary Art in Seville,” Centro Andaluz de Arte
Contemporaneo, Curated by Okwui Enwezor, Sevilla, Spain
Interstellar Low Ways- Sun Ra, Hyde Park Art Center, Curated by Huey Copeland, Chicago
Heroines, Gallery Met, Curated by Dodie Kazanjian, New York, NY
Distant Relatives/Relative Distance, The Michael Stevenson Gallery, Cape Town, South Africa
Land Mine, The Aldrich Museum, Ridgefield, CT
Still Points in the Turning World: SITE Santa Fe’s Sixth Annual Biennial, Curated by Klaus Ottman, Santa Fe, NM
Triumph of Painting, The Saatchi Gallery, London, UK
Having New Eyes, Aspen Art Museum, Aspen, CO
Infinite Painting - Contemporary Painting and Global Realism, Villa Manin Centre for “Contemporary Art,” Curated by Francesco Bonami and Sarah Cosulich Canarutto, Passariano, Italy
New African Art, Seattle Art Museum, Seattle, WA
The F-Word: Female Vocals, Warhol Museum, Pittsburgh, PA
Out of Time: A contemporary View, Museum of Modern Art, Curator Joachhim Pissarro Department of Painting and Sculpture, New York, NY

2005
Linkages & Themes in the African Diaspora: Selections from the Eileen Harris Norton and Peter Norton Art Collections, Museum of the African Diaspora, San Francisco, CA, December 1, 2005- March 12, 2006
After Cezanne, Museum of Contemporary Art L.A, Los Angeles, CA
Matisse and Beyond – The Painting and Sculpture Collections, San Francisco Museum of Modern Art, San Francisco, CA
Cut, LA Projects, Culver City, CA
Drawing from The Modern, 1975-2005, Curated by Jordan Kantor, Museum of “Modern Art,” New York, NY
African Queen, The Studio Museum in Harlem, New York, NY
The White Rose, Brent Sikkema, New York, NY
Figures of Thinking: Convergences in Contemporary Cultures, Richard A. Peeler Art Center, DePauw University, IN, McDonough Museum of Art, Youngstown State University, OH
Girls on Film, Zwirner and Wirth, New York, NY
Greater New York 2005, PS1, Long Island City, NY
Follow Me: A Fantasy, Arena 1, Santa Monica, Curated by Malik Gaines
Rewind/Re-Cast/Review, Berrie Arts Center, Ramapo College Galleries, Curated by Isolde Bielmeir, NJ
Only Skin Deep Changing Visions of the American Self, International Center of Photography, curated by Brian Wallis and Coco Fusco

2004
Gwangju Biennial, South Korea
Color Theory, Vitamin Arte Contemporanea, curated by, Torino, Italy
Figuratively, Studio Museum in Harlem, curated by Christine Kim, New York, NY
She’s Come Undone, Artemis Greenberg Van Doren gallery, curated by Agusto Arbizo New York, NY
Gio Ponti: Furnished Settings and Figuration, ACME, curated by Peter Loughrey / Chip Tom Los Angeles, CA
Open House: Working in Brooklyn, Brooklyn Museum of Art, curated by Tumelo Mosaka and Charlotta Kotik, Brooklyn, NY
It’s about memory, Rhona Hoffman Gallery, curated by Simon Watson, Chicago, IL
Dessins et des autres, Anne de Villepoix Gallery, Paris, France
Africa Remix, Kunstpalast Duesseldorf, Germany, traveling to Centre Pompidou, Paris, France
New, Susanne Vielmetter Los Angeles Projects, Culver City, CA
The Raw and the Cooked, Claremont University, curated by David Pagel, Claremont, CA

2003
Only Skin Deep, International Center of Photography, curated by Coco Fusco, New York, NY
Looking Both Ways: Art of the Contemporary African Diaspora, Museum for African Art, Long Island City,NY
We Are Electric, Deitch Projects, curated by Chris Perez, New York, NY
New Art Wave, BAM, Brooklyn Academy of Music, curated by Dan Cameron, Brooklyn, NY
Black President: The Art and Legacy of Fela Anikulapo-Kuti,The New Museum, curated by Trevor Schoonmaker, New York, NY
Art Basel Miami Beach, with Susanne Vielmetter Los Angeles Projects Miami, FL
Momenta Art, Brooklyn, NY
Dubrow International, Krevits/ Wehby, curated by Norman Dubrow New York, NY
Off the Record, Skylight Gallery, curated by Kambui Olujimi, Brooklyn, NY
The Broken Mirror, Leroy Neiman Gallery at Columbia University, curated by Chitra Ganesh, New York, NY
Parish Art Museum, Studio Museum Exhibition, South Hampton, NY
Armory Art Fair: 2003, New York, NY
Creatures, Jamaica Center for the Arts and Learning, Queens, NY
7 Walls, 8 Views, by Renee Ricardo, Arena Gallery, New York, NY

2002
Art Basel Miami Beach, Miami, FL Scratch, Arena Gallery, New York, NY Brooklyn in Paris, Gallery Chez Valentin,
Paris, France Model Citizens, Roger Smith Gallery, curated by Janet Dees, New York, NY Culture In A Jar, Longwood
Arts Project, curated by Wanda Ortiz, New York, NY Africaine,
Studio Museum in Harlem, curated by Christine Kim, New York, NY

2001
Fusion, MoCada, New York, NY
Challenge, Skylight Gallery, New York, NY
Out of the Box, Queens Museum, New York, NY
Group Show, River Bank Gallery, New York, NY

2000
The Magic City, curated by
Trevor Schoonmaker, Brent Sikkema, New York, NY

1999
Who’s afraid of … Galerie Michael Cosar, Düsseldorf

1998
In Coming, Art & Architecture Gallery, New Haven
CT
Fusions, Imarisha Gallery, Brooklyn, NY

1997
Life’s Little Necessities, Johannesburg Biennale,
The Castle, curated by Kellie Jones, Cape Town, South Africa