EditorialCrystal Lucas-Perry, center, as an incarnation of Blackness who bursts onto the stage wearing a quilt, in “Ain’t No Mo’,” at the Belasco Theater in New York, Nov. 18, 2022. (Sara Krulwich/The New York Times)
EditorialCrystal Lucas-Perry, center, as an incarnation of Blackness who bursts onto the stage wearing a quilt, in “Ain’t No Mo’,” at the Belasco Theater in New York, Nov. 18, 2022. (Sara Krulwich/The New York Times)
EditorialRashid Johnson by one of the two 9-by-25 foot mosaic panels he created for the interior of the Metropolitan Opera in New York on Sept. 2, 2021. (Ike Edeani/The New York Times)
EditorialThe final wall in the gallery called “Systems of Anti-Blackness in America” at the Greenwood Rising museum in Tulsa, Okla., which catalogs the events of the 1921 Tulsa Race Massacre, on May 29, 2021. (Joshua Rashaad McFadden/The New York Times)
EditorialSymone at The House of Avalon, a queer fashion and pop culture collective, in Los Angeles on May 11, 2021. (Natalia Mantini/The New York Times)
EditorialWorks by Amanda Williams and Felecia Davis, part of the exhibition, “Reconstructions: Architecture and Blackness in America," at the Museum of Modern Art in New York, on March 8, 2021. (Simbarashe Cha/The New York Times)
EditorialMario Gooden's "The Refusal of Space," (2020), foreground, part of the exhibition, “Reconstructions: Architecture and Blackness in America," at the Museum of Modern Art in New York, on March 8, 2021. (Simbarashe Cha/The New York Times)
EditorialA second appraisal valued Abena and Alex Horton’s Jacksonville home 40 percent higher than the first appraisal, after Abena Horton removed all signs of Blackness. (Charlotte Kesl/The New York Times)
EditorialA second appraisal valued Abena and Alex Horton’s Jacksonville home 40 percent higher than the first appraisal, after Abena Horton removed all signs of Blackness. (Charlotte Kesl/The New York Times)