Nearly 30 years ago, Denyse Thomasos forged a form of abstraction that depicted the unspeakable and unimaginable confinement in slave ships and prisons. Her work had to be seen at the Biennial.
As they put the final touches to the influential survey of American art, two curators went on the road to test their hunches, and found value in stepping outside.
Nearly 30 years ago, Denyse Thomasos forged a form of abstraction that depicted the unspeakable and unimaginable confinement in slave ships and prisons. Her work had to be seen at the Biennial.