“Just Above Midtown: Changing Spaces,” at MuseumModernArt, pays tribute to Linda Goode Bryant’s historic gallery that played host to an incredible range of artists of color from 1974 to 1986.
and the historian and curator Lowery Stokes Sims manned the phones.
If you think the New York art world is segregated now—and it is—imagine what it was like when the then twenty-five-year-old Goode Bryant hatched her plan to compete in the white gallery world by exhibiting unconventional work by Black artists.
Part of what makes “Just Above Midtown: Changing Spaces” so moving is that it’s been mounted at a time when the art market can’t commodify Black art and artists fast enough. How devastating, then, to find in one corridor of the show a wall covered in the past-due notices that Goode Bryant received as she tried to keep her gallery afloat, or to see a letter from Senga Nengudi asking Goode Bryant for a letter of support so that she could get an American Express card.
“Just Above Midtown: Changing Spaces” takes up a little more than five thousand square feet, not huge bystandards, but Lax makes the most of it; the show is dense and beautifully hung, with ephemera beside videos, sculptures next to documentary performance photographs, each piece jumping out at you, full of youth and surprise.
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