From Julia Margaret Cameron to Chloe Dzubilo, to 150 years of the Art Students League of New York, “visionary” is a theme in the shows below.

It is crucial to grapple with the colonial structures that helped sustain the lives and work of the two 19th-century contemporaries, both celebrated as feminist heroines.

From local concerns in the Bronx to global issues in Queens, plus a trip to see Indigenous art in New Jersey, our favorite art is far-reaching right now.

“Working Knowledge” is deeply attuned to the Bronx community it emerges from — an attentiveness that greatly enhances its significance.

Nancy Elizabeth Prophet, Claudia Alarcón, and Nanette Carter are three of the artists whose work we’re enjoying, among many shows that pack a punch.

The trailblazing Afro-Indigenous sculptor’s life and everlasting impact are the subject of a long-overdue retrospective at the Brooklyn Museum.

Our favorite shows of the week all center individual creators, from big names like Tatlin and Kafka to contemporary artists like Judy Linn.

The role of dreams in Latin American art, Gertrude Abercrombie’s homegrown surrealism, essays on Celia Paul, new catalogs and monographs, and more.

Known as the “soul of the Morgan,” Belle da Costa Greene established the Morgan Library & Museum’s collection and lived as a “passing” Black woman in the early 20th century.

The exhibitions below, featuring such artists as Deborah-Joyce Holman and Luis Fernando Benedit, ask viewers to spend time with art that’s slower to reveal itself.

Through abstraction and nonlinearity, Holman invests in cinematic practices that unseat “spectacle” as the prominent mode of Black representation.

Nick Cave leaves behind his Soundsuits, Ericka Beckman reimagines a fairy tale, American Artist explores the sci-fi world of Octavia E. Butler, and more.

What would it mean for the survival of the planet if we were to take seriously Black feminist visions of climate justice in which coexistence with nature is prioritized over environmental plunder?

A retrospective at the Brooklyn Museum conveys that Catlett’s artistic practice was inseparable from her dedication to Black and Mexican revolutionary politics.

In the catalog for her Brooklyn Museum show, scholars explore how the Black revolutionary artist lived out her beliefs after her exile from the United States.

Styling Identities pushes the boundaries of museum display to incorporate local communities and global art through the theme of hair.

Faustine’s White Shoes photography series demands a reckoning with the histories and afterlives of slavery, settler colonialism, and genocidal violence.

Aliyyah Abdur-Rahman’s Millennial Style considers the political utility of Black abstraction and related forms to refute false narratives of progress.

From an occult Renaissance manuscript and the history of eyeliner to Salman Rushdie’s new book, our staff and contributors have got you covered.

Stitching Love and Loss narrates the history of the Pettway family, the community of Gee’s Bend, and the entwined tragedies of slavery and Indigenous dispossession.

A radical communion of painting and writing, Art on the Frontline reckons with the leftist political potential of Black visual and expressive culture.

Members of the Keiskamma Art Project experiment with needlework to narrate pertinent histories, moments of communal grief and of vitality.

Each portrait in Lovell's current exhibition is a lens through which to consider the complex humanity of Black subjectivity in American history.

"At the root of these works is the issue of poetics — painterly and textual for Jablon, dynamic, multicolor geometry for Odita."

Fifty years ago, the historic Sapphire Show modeled a Black feminist ethics of uplifting one another when others fail to do so.

In Tranquility of Communion, soul-stirring photographs blend Yoruba cosmologies, queer desire, and Baroque theatricality.

Lithe yet sturdy, Hassinger’s sheer organic forms belie their industrial materials.

Brighter Days is bound to transform what we imagine possible with monuments.

A forceful rejection of neutrality, the Guggenheim exhibition unearths the deeply biased natures of media and government systems.

O’Grady’s rebellious spirit has roused the mainstream art world for close to 50 years, and her latest exhibition at the Brooklyn Museum is no exception.

The Getty volume is replete with vital lessons on studying and historicizing imperial ephemera.

There’s a certain irony to the fact that Thompson, an artist who was so in-tune with the patterns of nature and the universe, posed such a fundamental challenge to mainstream art histories.

Dwelling somewhere between abstraction and figuration, Hodges’s impressionistic paintings enact a critique of rugged individualism.

Viewing Parks’s photographs in 2021 offers stark, graceful reminders of the ongoing fight for civil rights.

Dial World offers an exciting, if selective, opportunity to gauge the artist’s formal impact — one long overdue.

Organized by La Tanya S. Autry, scholars, artists, and museum professionals including Christina Sharpe, Key Jo Lee, and William C. Anderson gathered to discuss the limits and possibilities of art to address anti-Blackness.

Uniting the personal and the political, Rope/Fire/Water positions Pindell’s creative process as entry points towards learning and healing, for both herself and others.

The first book to offer a comprehensive overview of O’Grady’s writings, Writing in Space 1973 — 2019 affirms both the range and reach of the artist’s impact upon an art world that has only belatedly recognized her.

With Hybrid Spirit, Adejoke Tugbiyele proposes a visual language that explores the intimate connections between queerness, Indigenous African spirituality, and feminism.

More than merely a grand survey of art from the region, Sahel: Art and Empires on the Shores of the Sahara mobilizes discussions around migration and contemporary cultural stewardship.

Trafficking in fragments of beings, machines, and ideas, Julia Phillips rejects the immediate gratification of simple forms and answers.

In his exhibition Reunion, Beasley’s sculptures express reverence for his family’s annual gatherings in Virginia — canceled this year due to the pandemic, like so much else.

Foregrounding narratives of oceanic migration, Ghebreyesus’s paintings radiate power and serenity in vibrant shades of blue.

I’m here to entertain you, but only during my shift flirts with beauty, ecology, and the desire to be seen, without capitulating to the pull of exoticization.

German’s commitment to dynamic and sometimes riotous formal strategies expresses an amalgamation of Black femme iconography, including shrines to Serena and Venus Williams with butterflies.

At Hales New York, Patterson’s collages meditate on the entropy and delicate elegance of our natural and built environments.