This special issue is dedicated to the memory of Okwui Enwezor
(1963-2019), the first African and Black curator and director of
documenta11 (2002) and the 56th Venice Biennale (2015). The
articles and personal tributes collected here recognize the
profound impact left by the Nigerian art historian, curator, poet,
and educator who transformed the curatorial present of global
exhibitions and anticipated their decolonizing futures. Enwezor
created political platforms and artistic manifestos that not only
changed the form and function of global exhibitions, but also
opened up new ways to align activism with aesthetic practices,
performative displays, and curatorial initiatives. Contributors-art
historians and critics, curators, and artists-address how Enwezor's
approach to the exhibition as a "space of public discourse"
intersects with theories of affect, indigeneity, race, queer
studies, and feminism. Contributors: David Adjaye, Hoor Al Qasimi,
Natasha Becker, Naomi Beckwith, Maria Magdalena Campos-Pons, Jody
B. Cutler-Bittner, Jane Chin Davidson, Shane Doyle, Tamar Garb,
Kendell Geers, Salah M. Hassan, Amelia G. Jones, Abdellah Karroum,
Monique Kerman, Mohammed Ibrahim Mahama, Julie Mehretu, Susette S.
Min, Wangechi Mutu, Sabine Dahl Nielsen, Chika Okeke-Agulu, Alpesh
Kantilal Patel, Anne Ring Petersen, Yinka Shonibare, Penny Siopis,
Mary Ellen Strom, Przemyslaw Strozek, Mikhael Subotzky
General
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