ABSTRACT
Five years ago, long-time New York Times art critic Holland Cotter wrote a small, alarming review titled “Under Threat: The Shock of the Old” that included the lament, “What happened to Africa? It disappeared . . . Do a quick scan of major exhibitions in American Museums in the past few years and Africa’s barely there. . . . Wasn’t the multicultural surge of yesteryear supposed to produce the opposite effect?”1
