Ian Bourland

Jimmy Robert, Imitation of Lives, 2017, performance documentation. Courtesy: Performa and The Glass House; photograph: © Paula Court

Various venues, New York, USA

A year marked by new visualizations, both controversial and celebrated, of the black body

The removal of the Confederate monuments in Baltimore shows decisiveness after years of inaction – already they stand as sites of counter-memory

Kevin Beasley, Untitled (petrified), 2017, polyurethane foam, resin, redskins 1937 throwback speed helmets, 30 x 30 x 71 cm. Courtesy: Casey Kaplan

Casey Kaplan, New York, USA

Mikhail Subotzsky, WYE, 2016, film still. Courtesy: Goodman Gallery, Johannesburg, South Africa 
 

Goodman Gallery, Johannesburg, South Africa

Sikkema Jenkins & Co., New York, USA

A history of underground Black publishing, from W.E.B. Du Bois to #BlackLivesMatter

Glenn Ligon, Untitled (Bruise/Blues), 2014, neon and paint, 310 x 87 cm, installation view, blank projects, Cape Town, 2016. © Glenn Ligon

Stevenson Gallery, Cape Town & Johannesburg, and blank projects, Cape Town, South Africa

Pace Gallery, New York, USA