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The Weight We Bear: Heino Schmid’s monumental drawings in the NE9

Between the Devil and the Deep Blue Sea: Lavar Munroe deconstructs “The Arrival”

Art Centering Woman: HARD MOUT GYAL, GOT A TONGUE LIKE THE OCEAN

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

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

The Clapboard House: A Disappearing Relic within The Bahamian Landscape

The Aesthetics of Debt: Double Consciousness and Vision in the age new a new modernity

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

If an Entire Population Moves, Is It Still a Nation?: Post-Irma and Post-Colonial Devastation

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

From the Collection: “The Deanery” (1979) by Alton Lowe

“Burma Road” (c2008) by Maxwell Taylor

From the Collection: “Built on Sand” (2003) by Dionne Benjamin-Smith

Welcome to the Past, Present, and Future: A Caribbean Futurist Read of Antonius Roberts’s Mabrika

Strange Fruit: Kendra Frorup’s Poignant Banana Plumes

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

Field Notes on Planting Seeds in Uprooted Gardens

The Problems of Paradise: Thoughts on Traversing the Picturesque

Preserving the Forgotten

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

The Gall To Speak: NE8 Artists Venturing into Gaulin Folklore

Gaia Reimagined: “Mother Earth” (1992) by Clive Stuart

“Who the Hell Do I Think I Am?” (2012) by Margot Bethel

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

Timelines: Developing Blackness

Care in the Craft: “Young Children” (nd) by Frank Otis Small

March’s Artwork of the Month – Maxwell Taylor’s ‘Nassau Boy’ (1973)

Breezes through Long Cay. Chapter 1: As Stories Fade

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

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

Sorry for What: I am not the sugar in your cup of tea

Speaking of culture: Thinking about change

This has all been said before: Art, Racism and the words of representation

The Straw Paradox

Sinking: Field Notes on Loss and Belonging

Something About Failure: Tessa Whitehead’s intimate questioning on success, failure, and what makes art work.

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

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

“That Vodou that who do?”: Ancestry, heritage, memory, and light in the work of Eric Jean-Louis.

Brent Malone’s ‘Metamorphosis’ is the March artwork of the month

Curtain Call for the Colonial in Sanford Sawyer’s Studio Photographs

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

From the Collection: “Cycle of Abuse” (2017) by Sonia Farmer

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

Denis Knight’s Lucayan Woman

A-Figuration: Emerging artist Nowé Harris-Smith’s obscured figures on view at the NAGB

From the Collection: “The Bussett and the Monkey” (1991) by Amos Ferguson

“I ga’ gee’ you what you lookin’ for!”: Tamika Galanis gets to the heart of the Caribbean’s history of looking

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

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

Beauty in Bain Town: How does Over-the-Hill Fit Into the Bahamian Picturesque?

Locked in Our Bodies: A Resurrection of Voices

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

Conserving art in the tropical home

The Case for Lavar Munroe: The Son of Soil

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

A Garden: Letitia Pratt Creates New Folklore in Response to Biblical Patriarchal Storytelling

Made in The Bahamas: Authentic action, authentic support

Golden Touch and Go: Jace McKinney’s imagines golden kings and living dangerously in “Trumped” (2013)

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

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

A Bahamian Aesthetic: Defining the Local in the Global

From the Collection: “Solomon” (2000) by Stan Burnside

Boundaries, Borders and Brotherhood: “Proxemics: Personal Space/Commanding Stance” (2015) by John Beadle

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

Beyond Objecthood: The Straw Baskets of William ‘Old Iron’ Colebrooke
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