ABSTRACT
No artist in the late twentieth century can lay greater claim to representing a particularly significant yet hardly acknowledged constituent in the history of modernist artnamely the non-white, non-formalist-and conceptually engaged theatres of modernist practice than the painter and print-maker Uzo Egonu who died in London in 1996 after living and working in England for fifty-one years. Though only one of a stellar cast of hugely talented, most accomplished and inimitably sophisticated artists of non-European descent who made their mark in the West in the 1960s and 1970s, Uzo Egonu was the first of these artists to move there with the sole aim of becoming an artist.1
