In honor of Black History Month, we’re celebrating works by African American artists, including Theaster Gates's Civil Tapestry 5, 2012, which is currently on view in We the People: New Art from the Collection.

As part of We the People: New Art from the Collection, the Albright-Knox asked members of the community for their thoughts on works in the exhibition. Morgan Law chose Dan Halter’s Rifugiato Mappa del Mondo (Refugee Map of the World).

Karima Amin, storyteller and founder/director of Prisoners Are People Too, Inc., reflects on Hank Willis Thomas’s We The People. 

This first solo museum presentation of Aria Dean’s work includes three videos that explore how blackness is constructed through the repetition and circulation of its representations. Dean will discuss her works at the AK on January 10.

Yuji Agematsu’s zip: 01.01.06 . . . 06.30.06 is an unconventional portrait of a very specific time and place: January 1 through June 30, 2006, in New York.

Educator Ebony Pope reflects on Njideka Akunyili Crosby’s “The Beautyful Ones” Series #5.

Chuck Tingley and Matt Grote's weego celebrates nostalgia for cartoons, video games, and other imaginative preoccupations of youth.

With Loud Tactile Painting, Yaacov Agam aimed to disrupt the traditional rules of the art museum. 

With We Are Here, Buffalo-based graphic design firm White Bicycle transformed a street map of the mural's North Buffalo neighborhood.

Sopheap Pich's Cycle, on view as part of We the People: New Art from the Collection, traces the connections between the human and natural worlds.

Subodh Gupta's This is not a fountain combines used pots and pans and working faucets to speak to the transformation of family and community in contemporary India.

On March 4, 1965, members of The Center of the Creative and Performing Arts at the University at Buffalo performed György Ligeti's Poème symphonique, 1962, as part of the Buffalo Festival of the Arts Today.