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A work made of silk and rayon, twenty-four narrow woven strips with bands of warp-stripe plain weave, warp-stripe plain weave with supplementary patterning wefts, warp-stripe plain weave with supplementary brocading wefts, and weft-faced plain weave; joined; main warp fringe.

Kente Wrapper, 1900/25

Asante

A work made of oil on canvas.

View on the River Roseau, Dominica, 1770–80

Agostino Brunias

A work made of oil on canvas.

The Descension, 1961

Bob Thompson

A work made of wool, plain weave; appliquéd with nylon machine knitting and wool and rayon felt; embroidered with wool, wax-coated-wool and rayon in buttonhole, cross, long-armed cross, and stem stitches; back stitch couching; knotted wool and cut fringe.

Shoulder Cloth (Akbazi), 1930s/40s

Ida Ou Nadif

A work made of chromogenic prints.

Untitled (John-John and Bobby), 1988

Larry Johnson

A work made of inkjet prints (diptych), from "the birmingham project".

Braxton McKinney and Lavon Thomas, 2012

Dawoud Bey

A work made of copper alloy.

Goldweight Depicting a Pyramid, 19th/mid–20th century

Asante

A work made of mezzotint with etching in black and color aquatint from multiple plates on ivory wove paper.

Jewels/Theme II, 1985

Eldzier Cortor

Abstract painting featuring wide horizontal bands of pinkish red at top and bottom with a band of white and band of black in the middle. Each color section has a subtle white gradient, and hints of all of these colors are present in each of the bands.

Taos, 1982

Ed Clark

A work made of inkjet prints (10) and transparencies (10).

Rock Anatomy, 2018, printed 2019

Abraham Oghobase

A work made of gelatin silver print.

A Young Woman Waiting for the Bus, Syracuse, New York, 1985

Dawoud Bey

A work made of gelatin silver print.

A Girl at Number 100, from the series "Harlem, U.S.A.", 1975, printed 2011

Dawoud Bey

A work made of monotype on cream japanese paper.

The Sunny South, 1939

Walter Ellison

A work made of painted poplar.

Sister Tuesday, 1934

Leslie G. Bolling

A work made of gelatin silver print.

Intrigue, c. 1935

James VanDerZee

Color print of ten African American people raising their fists. They stand in two diagonal lines that converge in the middle. In the background, "unite" is repeated diagonally in yellow, purple, blue, and red block letters.

Unite (AfriCOBRA), 1971

Barbara Jones

A work made of raffia, plain weaves; pieced; appliquéd with plain weaves in pearl stitches; embroidered in pearl stitches; edged with bands of cotton, warp-stripe warp-float faced twill weave; cotton, plain weave; pieced and hemmed in slip and pearl stitches; and cotton, warp-float faced alternating float weave; joined with raffia in pearl and twisted insertion stitches.

Ceremonial Skirt, Late 19th century

Kuba

Several nude people, each with a different skin hue, relax languidly underneath trees in a rural landscape. The shapes in this painting are simplified, soft. But overall they remain recognizable. Looking upward—toward the background—an oval-shaped portal in the tree copse opens toward a pink mirage. An unconcerned, utopian group, but in somber colors.

The Drying After, 1961

Bob Thompson

A work made of gelatin silver print.

The Invisible Man (Harlem, New York), from the series "A Man Becomes Invisible" (1952), 1952

Gordon Parks

A self-portrait oil painting of American artist Archibald John Motley, Jr. He wears a white shirt, a black tie with a diamond horseshoe pin, and a brown jacket; in his left hand he holds a palette, upon which are splotches of paint arranged according to the order of the color wheel; in his right hand he holds a long, slender paintbrush. Motley’s eyes are directed towards the viewer, he has a small mustache, and his light brown skin is contrasted by the black background.

Self-Portrait, c. 1920

Archibald John Motley Jr.

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