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Pasting Colours: Envisioning Alternatives

The God Self: Lessons on Self-Love from Emerging Artist Cydne Coleby

Colonial Desires in the 21st-Century: Using Our Image Purposefully

So Close Yet So Far

From the Collection: Lavar Munroe’s “The Migrant”

“John Beadle’s Row Yah Boat: Merrily, merrily, merrily, merrily life is but a dream.’ Wake up!”

A Teetering Bimini: Thinking about The Old Man and the Sea

The Role of the Arts in Addressing Climate Change

“Defender of the Faith”: Rembrandt Taylor’s Dragon-slayer.

Mhudda: Jackson Burnside’s socially aware look at the struggles of the Bahamian “everyday”

From the Collection: “East Street With Donkey and Cart” (1914) by E J Read

The Problems of Paradise: Thoughts on Traversing the Picturesque

Urban Scrawl: The potential for public art projects in Nassau

The art of living in the tropics. Part II: Hand come, hand go

Conserving art in the tropical home

The Liberal: Thierry Lamare’s Sincerity in Rendering Bahamian Life

A Bahamian Aesthetic: Defining the Local in the Global

Max and Amos: Enchantment and Magical Realism in Service to Freedom

Owning our Image: Radical reclamation of self

From The Collection: “Bay Street on Fire” (2002) by Blue Curry

From the Collection: “Metamorphosis” (1979) by R Brent Malone

Cultural Heritage & Erasure: “Protecting our inheritance and patrimony”

Gendered Norms and Deconstruction: The Body, the Image, and the Ability to Speak Out for Self

Speaking to views and gazes in the work of Eric Rose: Education, Space and Knowing your Place

The Case for Lavar Munroe: The Son of Soil

There’s a Man on the Floor: Edrin Symonette’s Man Skin Rug

Under Attack: Averia Wright’s Elevating the Blue Light Special and the Dualities of Bahamian Identity

Feature from the Collection: Emancipation Day Boat Cruise

The Moving Image: The First Turn of the Revolution

Creating Thinking Spaces: Opportunity to Think, Build, and Grow

Sinking: Field Notes on Loss and Belonging

Eye on The Bahamas

Grave Silence: Sonia Farmer and Shivanee Ramlochan Give Voice to Victims of Rape in The Caribbean

What’s in the frame: Tourism, art, installation and rebuilding the old whore of a body

Kendal Hanna’s “Rainbow Explosion”: Finding Self Through Abstraction

“When the Lionfish Came”: Tamika Galanis Gives Voice to the People of the Reef amid Dangerously Rising Tides

Traversing the Picturesque: A thought

From the Collection: “Woman With Flamingoes” (1996-97) by R. Brent Malone

Spirituality without religion and religion without spirituality? The magic meeting of both

Remedies for Remembering: Darchell Henderson’s new mural on Hospital Lane reminds us of our histories of healing.

Amos Ferguson’s “Jesus and the Good Semeriton” (nd): The Colour of God and Histories of Faith

The Provocative: Drew Weech plays with the history of the nude in Western Art

Angelic Remembrance: Antonius Roberts’ memorialises women of faith

From the Collection: Dave Smith, Let Us Prey, 1984-86

Re-Encounter: Thoughts of a Mad Mind

Danny Davis brings a colonial interpretation to NE9’s “The Fruit and The Seed.”

Hearth and Heart – E. J. Read’s ‘Clay Oven’

Re-membering the past: Margot Bethel and Nicolette Bethel take on Transforming Spaces 2015 family-style

Traditional Knowledge Living in the Tropics: Respecting Lifeways

Potter’s Cay: Markets and the Importance of Public Spaces

The writing on the wall

Troubling Narratives: This is how we suffer to remain

From the Collection​: Heino Schmid’s North Star (2007-8)

Antonius Roberts “Procession of Females in White Uniforms”

Breezes through Long Cay: Chapter 2

Painting to heal: Artist Gabrielle Banks lays bare the burdens of her troubled past

“Water: The giver and the taker of life”: Edrin Symonette’s “Salt of the Earth”

Check Yourself: Thinking About Stereotypes and Chan Pratt’s Sincerity in Painting Over-the-Hill

A Repository of Memories

Cultural Tourism on Exuma: A Gem for Few, a Gem for All

Aftermath: Field Notes on Loss and Belonging

A Glitch in Time: Who’s in for the Saving?

Max Taylor’s ‘What to Do?’

“Pulling Nr. 1,” 1982. Woodprint by Maxwell Taylor

Considering the African Culture: Not forgetting the Asue

From the Collection: John Paul Saddleton’s “West Hill Hidden Garden”

From the Collection: Heino Schmid’s North Star (2007-8)