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A Bahamian Aesthetic: Defining the Local in the Global

Boiling: Field Notes on Loss and Belonging

From the Collection: “Poor Man’s Orchid” (1989) by Sue Bennett-Williams

Breezes through Long Cay: Chapter 2

Max Taylor’s ‘What to Do?’

The Architecture of Loss: Memorials, Memento Mori, and the Man from Milton Street

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

The writing on the wall

Pasting Colours: Envisioning Alternatives

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

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

Reconnecting to the Divine Feminine

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

From the Collection: Michael Edwards’ “Untitled II”

Considering the African Culture: Not forgetting the Asue

To Heal We Must Remember: Katrina Cartwright’s power figure uproots the past

Creative Youth: Reevaluating Our Values and the Work of Young People

Unearthing: Raising the Voices, Quieting the Noise

The Art of Living in the Tropics, Part Three: Silence

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

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

Aftermath: Field Notes on Loss and Belonging

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

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

Unpacking Identity with Joiri Minaya

In the wake of storms:  Moving forward as a nation displaced

From the Collection: “Untitled (Balcony House on Market Street)” (ca 1920) by James Osborne “Doc” Sands

The Problems of Paradise: Thoughts on Traversing the Picturesque

Troubling Narratives: This is how we suffer to remain

The January Artwork of the Month is ‘Beller’

Owning our Image: Radical reclamation of self

From the Collection: Maxwell Taylor’s “The Immigrants No.3” (c1990)

From the Collection: “Ain’t I A Good Mother?”

Traversing the Picturesque: A thought

Feature from the National Collection: Emancipation Day Boat Cruise

Traditional Knowledge Living in the Tropics: Respecting Lifeways

The Straw Paradox

“Prayer in a Dark Place” (2013) by Jace McKinney: Hope in spite of sinking feelings

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

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

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

(Un)Monumental: How Do We Re-contextualise Historic Sculptures for Contemporary Life?

San Salvador as Culture: Exploring New Economies, Working Against Collapse

The Wisdom of Amos Ferguson: Reflections on “Hard Mouth: From the Tongue of the Ocean”

Utopian Ecologies: Alex Timchula’s microcosmic garden sculpture for the NE9

Activism as art, art as activism: How social practice opens dialogue for safe spaces and healing

The Mark of a Woman: Portraits of black womanhood in the work of Gabrielle Banks.

The Island Repeated: Toni Alexia Roach’s Patterned Approach to Confronting the Past

The Sea as Life: Cargo and VLOSA

The Translation Conversation: Migration and Navigating Blackness in Bahamian Womanhood

We Live at the Undersides

Environmental Force: On Abstraction and the Nature of Survival

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

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

Allan Wallace’s ‘Let There Be Order’

Murky Histories and Futures: “Digging Upward in the Sand” (2018) by Plastico Fantastico

If an entire population moves, is it still a nation?: The consequences of censoring self.

The Grave Silence: Sonia Farmer and Shivanee Ramlochan give voice to victims of rape in The Caribbean

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

So Close Yet So Far

Seeing the God in me: Jalan Harris’s “Self-Pollinate” and Cydne Coleby’s “A God Called Self” works

From the Collection: “Untitled (Rake Bird)” by Tyrone Ferguson

Ferguson’s Fantastic Dragon: Blending the imagination with the biblical

“Traversing the Picturesque: For Sentimental Value” – The Colonial Gaze

It’s not just black and white: It is also colour, light, shift, and feeling

Locked in Our Bodies: A Resurrection of Voices