On view from May 30th through August, 2018, Black Blooded is an exhibit at The New Gallery of Modern Art, Charlotte, NC, and is built like a family photo album with close to 70 pieces by 50 artists. This group exhibition demonstrates the diversity and nuance within narratives of tradition, consanguinity, and origin. 

The Garden exhibition, located between the Early American and Modern Art Galleries, takes you on a journey exploring flowers in different contexts to celebrate the connection between art, design, nature, and literature. Florals and greenery are timeless themes that provide examples of how humans connect with nature and ideas of growth, passage of time, and beauty. By enveloping you in immersive spaces, the feeling of being in a garden is brought indoors through a site-specific installation, detailed rendering of flowers, and new forms of ornamentation, reflecting on the nature of beauty in the process. The Garden looks at the myriad of ways artists use flowers for ornamentation, empowerment, and as an exploration of human experience.

The Garden will be on view April 21st - October 8th, 2018 at The Crystal Bridges Museum of American Art.  

The Fine Arts Center Gallery at the University of Arkansas, Fayetteville, AR, presents Contra, on view from November 6 - December 10, 2017, and featuring works by Kendell Carter, Nicole Cherubini, Mariah Robertson, Erin Shirreff, Jessica Stockholder, and Molly Zuckerman-Hartung.

Curated by Senegal-born, Portland-based multi-disciplinary artist Modou Dieng, Transparency Shade: Seeing Through the Shadow is a group exhibition of 2- and 3-D artworks on at projects+gallery, St Louis, MO, from April 7 - May 27, 2017. The show features work by Philip Aguirre y Otegui, Zoe Buckman, Kendell Carter, Kahlil Irving, Ayana Jackson, Michael Riedel, and Hank Willis Thomas. 

Kendell Carter: WE
September 12 - December 31, 2016

WE continues Carter’s exploration of race, gender, history, and consumer culture. The artist cites his choice of hip-hop as a model for his work, identifying it as “one of the few multiracial, multigenerational contingencies that we have.” Carter seeks to push discourse on his work past that of a black artist making art about politics, and towards one that acknowledges the integrated visual culture in which we are all participating.