In an era that thrives on depictions of black life and whose importance is overdue, the Philadelphia Museum of Art’s “The Time Is Always Now: Artists Reimagining Black Representations” not only solidifies the achievements of black life. The aftermath of the “Life Matters” movement, but also going further. The exhibition questions how blackness is seen and represented and celebrates contemporary black imagery while reframing it within the broader context of Western art history
The twenty-eight black and African diaspora artists in this exhibition refuse to objectify or instrumentalize their subjects, instead creating portraits of vitality and pure human beauty that ask us to change the way we see things. “From seeing black figures through an external objectifying gaze, to seeing the affirmation of black artists and the characters they depict,” said curator Ekow Eshun. The result is a stunning exploration of humanity beyond race, illustrating how racial identity is shaped by social and political forces while highlighting our shared human experience—including universal fears, hopes, and existential questions.
Historically, European and American representations of black bodies have marginalized, distorted, or completely erased their existence. In stark contrast, the artists here re-examine blackness through a deeply subjective and psychological lens, creating work that is both intimate and universal. These depictions challenge viewers to look beyond race and recognize Black characters as individuals with fully realized lives—not “others,” but at the heart of a broader human narrative. The show is unapologetically celebratory, eschewing pathology or any notion of Blackness as a point of difference, instead emphasizing shared humanity and resilience.
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Along the way, “The Time Is Always Now” delves into key themes of the black image, specifically the reinvention of traditional painting practices, while embedding these works within an evolving genealogy of art and art history in general. The title itself blends “forever” and “now,” embodying the exhibition’s ambition to connect historical and contemporary narratives and challenge the constraints of social and cultural constructions of race.
Originally staged at the National Portrait Gallery in London, the exhibition expanded to include additional artists in Philadelphia. Despite this growth, the exhibition retains its transatlantic focus, amplifying the voices of American and British artists who collectively advocate for the urgency of black representation as an integral part of the ongoing story of art history.
Split into multiple sections, the exhibition explores the multifaceted dimensions in which black figures operate within history and culture. The first, “Double Consciousness,” features works by Michael Armitage, Noah Davis, and Kerry James Marshall, among others, and delves into the psychological complexities of black people. These works challenge the duality of belonging and alienation, examining identity at a psychological rather than ontological level. The title of this section borrows from a term coined by WEB Du Bois in 1897 (not 1987) to describe the experience of black individuals being physically within society but psychologically outside it. Kerry James Marshall’s portraits embody this tension with compelling intensity, as his subjects confront the viewer directly with a gaze that refuses duality and asserts its presence. Marshall’s deliberately non-naturalistic use of dark skin tones sees “blackness” as a construct shaped by cultural and social stereotypes rather than inherent reality. As he said, “They are black to prove that black can have complexity. Depth. Richness.
Likewise, Amy Sherald’s iconic use of greyscale gray tones challenged traditional representations of skin tone. By erasing color connotations, her work creates an ambiguity of skin tones that challenges stereotypes while rooting her characters in the traditions of Western art history. Her references to the Gothic palette, as seen in Giotto’s frescoes or the paintings of Hieronymus Bosch, reframe black subjects within a lineage traditionally dominated by Eurocentric narratives.
In the second part, “Past and Present”, artists such as Godfried Donkor, Kimathi Donkor and Barbara Walker devote themselves to Addressing the absence and distortion of black representation in Western art history. These works re-examine historical paintings and art canons, subverting and criticizing traditional representations imposed by the white gaze. Barbara Walker’s vanishing point (2018-) exemplified this approach by removing white figures from classical Western paintings in major museum collections, bringing marginalized black subjects into clearer focus. Her work draws attention to the historical exclusion and devaluation of black figures in art history, subverting the dominance of whiteness in these iconic works. Lubaina Himid also explores traditional heritage with a critical eye, incorporating visual elements, hidden narratives and collective memory in what she calls “re-memory” history paintings. Her work commemorates overlooked historical events while creating space for new perspectives, challenging the way traditional history painting perpetuates narratives of exclusion.
The final section, “Our Vitality,” offers some of the most powerful visual statements in the exhibition, celebrating the universality and humanity of black life. The artwork featured in this section captures moments of joy, affection, and social connection, emphasizing the everyday vitality of black life as human beings. Lynette Yiadom-Boakye’s subjects embody a profound sense of “normality,” with ordinary movements and gestures rendered in subtle brown and blue tones that blend seamlessly with her characters’ dark skin tones. Her characters are free beyond the boundaries of the white gaze.
Likewise, Njideka Akunyili Crosby’s layered photo transfers and collage paintings document intimate moments, family relationships, and emotions, celebrating the layered, cosmopolitan nature of diasporic experience. Her work explores the interplay between the culture of her homeland and the culture of her new environment, depicting a life permanently suspended between two worlds but rooted in love and connection. Infused with the energy of pop culture and everyday life, Henry Taylor’s paintings honor the richness of black existence through portraits of the communities closest to him, capturing their spirit and resilience. A reflection by writer Ta-Nehisi Coates quoted in the exhibition catalog sums up the spirit of the section: “They make us into races. We make ourselves into a people.
The exhibition’s greatest triumph is its refusal to limit itself to the framework of identity politics. Rather, it promotes a humanistic vision that promotes equality and shared humanity. By inviting viewers to consider art history through a broad lens, the exhibition transcends racial divisions and highlights our collective journey in the evolution of civilization, reminding us of the commonalities that connect us all.
The Philadelphia Museum of Art also presents “What Time Is Now?,” an exhibition that delves into how different artistic languages respond to and withstand moments of crisis—like the one we find ourselves in today. The artists in this exhibition view art as a vehicle for empathy and universality, crafting political truths and critical commentary that challenge the imposed culture of silence. Through their work, they offer a sensitive and unflinching look at contemporary citizenship, freedoms and rights.
Few artists embody the fusion of art and activism as vividly as Jenny Holzer. Her 1981 work it takes… is a scathing critic of the era’s new wealth flooding into Wall Street, unhesitatingly emphasizing its outsized impact on economic dynamics and the gentrification it fueled. Nearby, Philadelphia artist Jan American takes a more playful but equally profound approach. she Urban plants/urban waste The series (2000) turns cracked vials into wallpaper, a chilling reminder of the debris left behind by urbanization and construction, emphasizing the often-overlooked differences of such progress.
But the most hypnotic work in the exhibition may be silent (2016), a film directed by Pauline Boudry and Renate Lorenz, starring Venezuelan singer Aérea Negrot. The performance riffs on John Cage’s infamous 4’33” (1952), shows Negro in an extremely quiet yet visually captivating way. As the film loops, Negron’s carefully planned gestures seduce the viewer, proving that even silence is laden with meaning and subtext.
Exhibition takes critique beyond the confines of the gallery, featuring Steve McQueen’s iconic video installation in the Staircase Hall static (2009). Shot from a helicopter, the 35mm film takes a close look at the reopening of the Statue of Liberty, a symbol of freedom and equality, eight years after its closure in the aftermath of 9/11. The film plays on an infinite loop, with a sustained gaze dissecting the statue, revealing the tension between the ideals it symbolizes and the harsh realities of contemporary America.
“time is always now“On display at the Philadelphia Museum of Art through February 9.”what time is it now? Lasts until March 16th.
