Terry Adkins, Omohundro, 2002. Brass and copper; 29 x 60 x 8 inches (73.7 x 152.4 x 20.3 cm). Private collection. Image courtesy of the estate of Terry Adkins and Salon 94, New York, New York. © Estate of Terry Adkins.

Walter Inglis Anderson, Hummingbirds, c. 1955. Watercolor on paper; 8.5 x 11 inches (21.59 x 27.94 cm). Courtesy of the Family of Walter Inglis Anderson. © Walter Inglis Anderson. Photo by Peter Paul Geoffrion.

Benny Andrews, Down the Road, 1971. Oil with painted fabric collage on canvas; 55 x 48 inches (139.7 x 121.92 cm). Courtesy of Michael Rosenfeld Gallery, New York, New York. © Estate of Benny Andrews / Licensed by VAGA, New York, New York.

Radcliffe Bailey, Up From, 2015. Canvas tarpaulin, velvet, Georgia clay, wood, rock, metal, thread, rum, and tobacco; 132 x 72 inches (335.28 x 182.88 cm). Courtesy of the artist and Jack Shainman Gallery, New York, New York. © Radcliffe Bailey.

Romare Bearden, Watching the Good Trains Go By, 1964. Collage on paper; 13.75 x 16.875 inches (34.9 x 42.9 cm). Collection of the Columbus Museum of Art, Ohio. Museum purchase, Derby Fund, from the Philip J. and Suzanne Schiller Collection of American Social Commentary Art 1930–1970; 2005.012.008. © Romare Bearden Foundation / Licensed by VAGA, New York, New York.

Sanford Biggers, Quilt #15, Harmonics 2, 2012. Fabric-treated acrylic, spray paint, and cotton on repurposed quilt; 79.5 x 80.75 inches (201.9 x 205.1 cm). Collection of the Nasher Museum of Art at Duke University, Durham, North Carolina. Gift of Paula Cooper in honor of Patsy R. and Raymond D. Nasher, 2015.1.1. Image courtesy of the artist and David Castillo Gallery, Miami Beach, Florida. © Sanford Biggers. Photo by Peter Paul Geoffrion.

Willie Birch, The Big Nine, 2007. Acrylic and charcoal on paper; 72 x 90 inches (182.88 x 228.6 cm). Courtesy of the artist and Arthur Roger Gallery, New Orleans, Louisiana. © Willie Birch.

Rachel Boillot, 38765 Panther Burn, MS from the series Post Script, 2014. Archival pigment print, edition 2/12; 20 x 25 inches (50.8 x 63.5 cm). Courtesy of the artist. © Rachel Boillot.

Douglas Bourgeois, American Address, 2006. Oil on panel; 20 x 16.75 inches (50.8 x 42.55 cm). Private collection. Image courtesy of the artist and Arthur Roger Gallery, New Orleans, Louisiana. © Douglas Bourgeois.

Roger Brown, Kissin’ Cousins, 1990. Oil on canvas; 72 x 72 inches (182.88 x 182.88 cm). Courtesy of the Roger Brown Estate and Kavi Gupta Gallery, Chicago, Illinois. © Roger Brown Estate. Photo by William H. Bengtson.

Beverly Buchanan, Moonshine Man’s House, 2009. Wood; 12 x 16.75 x 18.5 inches (30.5 x 42.5 x 47 cm). Courtesy of Andrew Edlin Gallery, New York, New York.

Diego Camposeco, Tabaco (Tobacco) from the series Diego Saves the World, 2015 (printed 2016). Inkjet print; 24.25 x 24.25 inches (61.6 x 61.6 cm). Courtesy of the artist. © Diego Camposeco.

Mel Chin, Terrapene Carolina (Hillbilly Armor), 2005. Repurposed, custom-fit found or discarded materials from North Carolina and Tennessee, scaled to fit as “armor” for the underbelly of a US Army Humvee; 180 x 96 x 30 inches (457.2 x 243.8 x 76.2 cm). Courtesy of the artist. © Mel Chin. Photo by John Lucas.

William Christenberry, Building with False Brick Siding, Warsaw, Alabama, 1991. Digital pigment print on Hahnemühle, edition 6/25; 20 x 24 inches (50.8 x 60.96 cm). Courtesy of the artist; Jackson Fine Art, Atlanta, Georgia; and Pace / MacGill Gallery, New York, New York. © 2016 William Christenberry.

Sonya Clark, Unraveling, 2015–present. Cotton Confederate battle flag and unraveled threads, edition 2/10; 70 x 36 x 7 inches (177.8 x 91.4 x 17.8 cm). Courtesy of the artist. © Sonya Clark. Photo by Taylor Dabney.

Robert Colescott, Choctaw Nickel, 1994. Acrylic and gel medium on canvas; 83.75 x 71.75 inches (212.7 x 182.2 cm). The New School Art Collection, New York, New York. Gift of Vera List.

William Cordova, Silent Parade . . . or The Soul Rebels Band vs. Robert E. Lee, 2014. Video (color, sound); 9:54 minutes. Courtesy of the artist and Sikkema Jenkins & Co., New York, New York. © William Cordova. Photo by Michiko Kurisu.

Jerstin Crosby and Bill Thelen, Biscuit King, 2007. Mixed media; 13.75 x 34.25 x 36 inches (34.93 x 87 x 91.44 cm). Courtesy of the artists. Image courtesy of the Nasher Museum of Art at Duke University, Durham, North Carolina. © Jerstin Crosby and Bill Thelen. Photo by Peter Paul Geoffrion.

Thornton Dial, Monument to the Minds of the Little Negro Steelworkers, 2001–2003. Steel, wood, wire, twine, artificial flowers, ax blade, glass bottles, animal bones, cloth, tin cans, paint-can lids, and enamel; 38 x 76 x 46 inches (96.5 x 193 x 116.8 cm). Courtesy of the artist and William S. Arnett Collection of the Souls Grown Deep Foundation, Atlanta, Georgia. © Estate of Thornton Dial. Photo by Stephen Pitkin.

Sam Durant, Southern Hospitality, 2010. Gray military surplus blanket, ax handle, and Southern Comfort bottle; dimensions variable. Collection of the Museum of Contemporary Art, San Diego, California. Museum purchase. Image courtesy of the artist and Paula Cooper Gallery, New York, New York. © Sam Durant.

William Eggleston, Jackson, Mississippi, c. 1969. Dye transfer print; 13.563 x 21.063 inches (34.5 x 53.5 cm). Private collection. Image courtesy of the Eggleston Artistic Trust, Memphis, Tennessee, and Cheim & Read Gallery, New York, New York. © Eggleston Artistic Trust.

Minnie Jones Evans, Untitled (Night with angel wings surrounded by eyes), 1963. Ink, wax crayon, oil pastel, and graphite on paper; 12 x 8.875 inches (30.48 x 22.54 cm). Collection of the Cameron Art Museum, Wilmington, North Carolina. Gift of William Banks Hinshaw, Jr.; 2013.14.3. © Estate of Minnie Jones Evans.

Ralph Fasanella, American Tragedy, 1964. Oil on canvas; 43 x 93 inches (109.22 x 236.22 cm). Collection of John and Susan Jerit. Image courtesy of Andrew Edlin Gallery, New York, New York. © Estate of Ralph Fasanella.

Skylar Fein, Black Flag (For Elizabeth’s), 2008. Wood, plaster, and acrylic; 43.5 x 72 x 1.25 inches (110.5 x 183 x 3.2 cm). Collection of Dathel and Tommy Coleman. Image courtesy of the artist and Jonathan Ferrara Gallery, New Orleans, Louisiana. © Skylar Fein.

Howard Finster, Visions of the Angels – Honey Without Bees, 1978. Enamel on panel with embossed wooden frame; 40.5 x 17.5 inches (102.9 x 44.6 cm). Collection of John and Susan Jerit. © 2015 Howard Finster / Licensed by Artists Rights Society (ARS), New York, New York. Photo by Chip Pankey.

Michael Galinsky, The Day the KKK Came to Town, 1987 (produced 2015). Video (black and white, sound); 4:12 minutes. Courtesy of the artist and RUMUR, Brooklyn, New York. Sound by Jeff Robins and Brandon Uttley. © Mike Galinsky.

Theaster Gates, Soul Food Rickshaw for Collard Greens and Whiskey, 2012/2016. Desk drawers, wood, and wheels; 55.5 x 96.875 x 29.125 inches (141 x 246.1 x 74 cm). Courtesy of the artist and White Cube, London, United Kingdom. © Theaster Gates. Photo by Ben Westoby.

Jeffrey Gibson, I PUT A SPELL ON YOU, 2015. Re-purposed punching bag, glass beads, artificial sinew, and steel; 40 x 14 x 14 inches (101.6 x 35.6 x 35.6 cm). Collection of the Nasher Museum of Art at Duke University, Durham, North Carolina. Museum purchase, 2015.11.1. © Jeffrey Gibson Studio. Photo by Peter Paul Geoffrion.

Deborah Grant, In the Land of the Blind the Blue Eye Man is King from the series By the Skin of Our Teeth, 2007. Oil, archival ink, paper, Flashe paint, and enamel on five birch panels; 72 x 180 x 2 inches (182.9 x 457.2 x 5.1 cm). Collection of the Nasher Museum of Art at Duke University, Durham, North Carolina. Museum purchase with additional funds provided by JoAnn and Ronald Busuttil, 2013.13.1. © Deborah Grant. Photo by Peter Paul Geoffrion.

Barkley L. Hendricks, Down Home Taste, 1971. Oil and acrylic on linen; 48 x 48 inches (121.92 x 121.92 cm). Courtesy of the Office of the Dean of Students, Cornell University, Ithaca, New York. Gift of Michael Straight to the Willard Straight Hall Collection. Image courtesy of the artist and Jack Shainman Gallery, New York, New York. © Barkley Hendricks.

James Herbert and R.E.M., Left of Reckoning, 1984. Video (color, sound); 18:47 minutes. Courtesy of the artists / Licensed by Universal Music Publishing Group, Santa Monica, California. © James Herbert and R.E.M.

Birney Imes, The Playboy Club, Louise, 1983. Chromogenic print; 30 x 40 inches (76.2 x 101.6 cm). Courtesy of the artist and Jackson Fine Art, Atlanta, Georgia. © Birney Imes.

Jessica Ingram, Site of Vernon Dahmer’s Murder, Kelly Settlement, near Hattiesburg, Mississippi from the series Road Through Midnight: A Civil Rights Memorial, 2009. Archival inkjet print; 20 x 24 inches (50.8 x 60.96 cm). Courtesy of the artist. © Jessica Ingram.

George Jenne, Spooky Understands, 2013. Video (color, sound); 21:27 minutes. Courtesy of the artist. © 2013 George Jenne.

Deborah Luster, Septima with Tadpoles from the Lost Roads Project, 1993. Gelatin silver print, artist’s proof 2/2; 30 x 30 inches (76.2 x 76.2 cm). Courtesy of the artist and Arthur Roger Gallery, New Orleans, Louisiana. © Deborah Luster.

Sally Mann, Untitled (Antietam #14, trenches) from the series Battlefields, 2001. Gelatin silver print; 38 x 48 inches (96.52 x 121.92 cm). Courtesy of the artist and Gagosian Gallery. © Sally Mann.

Kerry James Marshall, Black Goddess of the Silver Screen, 1991. Acrylic and collage on canvas; 27 x 27 inches (68.58 x 68.58 cm). Collection of Alison and Alan Schwartz. Image courtesy of the artist and Jack Shainman Gallery, New York, New York. © Kerry James Marshall.

Henry Harrison Mayes, Untitled, n.d. Corrugated metal and rolled asphalt; 51.5 x 72 inches (130.81 x 182.88 cm). Collection of Jill McCorkle and Tom Rankin. © Estate of Henry Harrison Mayes. Photo by Peter Paul Geoffrion.

Richard Misrach, Untitled (T & E, we love what you’ve done with the place!) from the series Destroy This Memory, 2005 (printed 2016). Pigment print; 10.875 x 14.5 inches (27.62 x 36.83 cm). Courtesy of Fraenkel Gallery, San Francisco, California; Pace / MacGill Gallery, New York, New York; and Marc Selwyn Fine Art, Los Angeles, California. © Richard Misrach.

Jing Niu, Departing, 2014. Super 8 transferred to HD video (color, sound); 28:54 minutes. Courtesy of the artist. © Jing Niu.

Tameka Norris, 12 Times Table, 2014. Acrylic and oil on fabric; 60 x 100 inches (152.4 x 254 cm). Courtesy of the artist and Ronchini Gallery, London, United Kingdom. © Tameka Norris.

Catherine Opie, Melissa & Lake, Durham, North Carolina from the series Domestic, 1998. Chromogenic print, edition 4/5; 40 x 50 inches (101.6 x 127 cm). Courtesy of the artist and Regen Projects, Los Angeles, California. © Catherine Opie.

Gordon Parks, Department Store, Mobile, Alabama, 1956. Archival pigment print, exhibition edition 2/5; 20 x 16 inches (50.8 x 40.6 cm). Courtesy of the Gordon Parks Foundation, Pleasantville, New York. © The Gordon Parks Foundation.

Ebony G. Patterson, Strange Fruitz, 2013. Mixed media on paper; 97 x 84 inches (246.38 x 213.36 cm). Collection of Lois and Chris Madison. Image courtesy of the artist and Monique Meloche Gallery, Chicago, Illinois. © Ebony G. Patterson.

Fahamu Pecou, Hope . . . Maybe, if, or Prob’ly, 2013. Acrylic, spray paint, and oil stick on canvas; 58 x 58 inches (147.32 x 147.32 cm). Collection of E. Markwalder. Image courtesy of the artist and Conduit Gallery, Dallas, Texas. © Fahamu Pecou. Photo by Branton Ellerbee.

Tom Rankin, Baptism of Cheronda Brown by Reverend Crabtree, Stamps Lake, Perthshire, Mississippi, 1990. Gelatin silver print, edition 1/5; 15 x 15 inches (38.1 x 38.1 cm). Courtesy of the artist. © Tom Rankin.

Dario Robleto, A Defeated Soldier Wishes to Walk His Daughter Down the Wedding Aisle, 2004. Cast of a hand-carved wooden and iron leg that a wounded Civil War soldier constructed for himself, made from The Shirelles’ “Soldier Boy” melted vinyl records and femur bone dust, fitted inside a pair of W.W.I military cavalry boots made from Skeeter Davis’s “The End of the World” melted vinyl records, oilcan filled with homemade tincture (gun oil, rose oil, bacteria cultured from the grooves of Negro prison songs and prison choir records, wormwood, golden rod, aloe juice, resurrection plant, Apothecary’s rose, and bugleweed), brass, rust, dirt from various battlefields, ballistic gelatin, white rose petals, white rice; installation: 21 x 80 x 20 inches  (53.34 x 203.2 x 50.8 cm). Collection of the Los Angeles County Museum of Art, California. Purchased with funds provided by Tina Petra, Ken Wong, and Gibson Dunn; M.2005.18a-c. Courtesy of the artist and Inman Gallery, Houston, Texas. © Dario Robleto. Photo by Robert Wedemyer.

Jim Roche, Return to Florida, All in My Background: Piece (detail), 1973–1974. Gelatin silver prints and graphite on paper; 20 x 16 inches (50.8 x 40.64 cm) each panel, 20 x 32 inches (50.8 x 81.28 cm) each set. Courtesy of the artist. © Jim Roche.

James “JP” Scott, Shrimp Boat, n.d. Paint on wood; 26 x 51 x 17 inches (66.04 x 129.54 x 43.18 cm). Collection of New Orleans Museum of Art, Louisiana. Gift of Kurt A. Gitter, MD, and Alice Rae Yelen; 92.464.

Amy Sherald, High Yella Masterpiece: We Ain’t No Cotton Pickin’ Negroes, 2011. Oil on canvas; 59 x 69 inches (149.86 x 175.26 cm). Collection of Keith Timmons, ESQ, CPA. Image courtesy of the artist and Monique Meloche Gallery, Chicago, Illinois. © Amy Sherald.

Xaviera Simmons, Session Three: Player from the project Thundersnow Road, North Carolina, 2010. Chromogenic print, edition 1/3; 40.125 x 50 inches (101.92 x 127 cm). Collection of the Nasher Museum of Art at Duke University, Durham, North Carolina. Museum purchase; 2010.6.2. Image courtesy of the artist and
David Castillo Gallery, Miami Beach, Florida. © Xaviera Simmons.

Mark Steinmetz, Atlanta, 2007. Gelatin silver print, edition 1/15; 20 x 24 inches (50.8 x 60.96 cm). Courtesy of the artist and Yancey Richardson Gallery, New York, New York. © Mark Steinmetz.

Jimmy Lee Sudduth, Rooster, 1991. Mud on wood; 23 x 23.125 inches (58.42 x 58.74 cm). Collection of the Nasher Museum of Art at Duke University, Durham, North Carolina. Gift of Bruce Lineker, T’86; 2008.11.7. Photo by Peter Paul Geoffrion.

Hank Willis Thomas, Black Righteous Space (Southern Edition), 2012/2016. DVD (playlist and video installation), microphone, and Mac Mini; run time continuous. Courtesy of the artist and Jack Shainman Gallery, New York, New York. © Hank Willis Thomas.

Burk Uzzle, Acid Park, 2009. Chromogenic print, edition 1/3; 60.125 x 75.375 inches (152.71 x 190.5 cm). Collection of the Nasher Museum of Art at Duke University, Durham, North Carolina. Gift of Charles Weinraub and Emily Kass in honor of Kimerly Rorschach, 2012.15.1. © Burk Uzzle.

Stacy Lynn Waddell, belle, 2010. Burned paper with silver leaf; 33 x 25 inches (83.82 x 63.5 cm). Collection of Gail MD Belvett, DDS. Image courtesy of the Nasher Museum of Art at Duke University, Durham, North Carolina. © Stacy Lynn Waddell. Photo by Peter Paul Geoffrion.

Kara Walker, Cottonhead, a Mouthful of Teeth and Spitting Seeds, 1994. Paper on canvas; 61.875 x 61.875 inches (157.16 x 157.16 cm). Nancy A. Nasher and David J. Haemisegger Collection, Dallas, Texas. Image courtesy of the artist and Sikkema Jenkins & Co., New York, New York. © Kara Walker. Photo by Jason Wyche.

Andy Warhol, Dolly Parton, 1985. Synthetic polymer paint and silkscreen ink on canvas; 42 x 42 inches (106.7 x 106.7 cm). Collection of Crystal Bridges Museum of American Art, Bentonville, Arkansas, 2010.11. Image courtesy of the Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by Artists Rights Society (ARS), New York, New York. © 2015 The Andy Warhol Foundation

Carrie Mae Weems, A Distant View from The Louisiana Project, 2003. Gelatin silver print, edition 2/5; 20 x 20 inches (50.8 x 50.8 cm). Courtesy of the artist and Jack Shainman Gallery, New York, New York. © Carrie Mae Weems.

Jeff Whetstone, Self-Portrait with Catfish from the portfolio New Wilderness, 2003. Gelatin silver print, edition 1/5; 28 x 35 inches (71.12 x 88.9 cm). Courtesy of the artist and Julie Saul Gallery, New York, New York. © Jeff Whetstone.