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“Burma Road” (c2008) by Maxwell Taylor

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

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

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

Majority Rule: A Snapshot of Our Identity

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

Gender and the Dream: Confronting Stereotypes in Black Masculinity

Denis Knight’s Lucayan Woman

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

Preserving the Forgotten

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

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

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

Margot Bethel’s Portal: Unpacking Memories of Womanhood

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

Aftermath: Field Notes on Loss and Belonging

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

A Botanical of Grief: Yasmin Glinton and Charlotte Henay Connect with Ancestors’ Voices and Put Mother Tongue to Poetry

The Sea as Life: Cargo and VLOSA

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

Some (Re)assembly Required: Melissa Alcena’s Tender Look at Black Masculinity

Strange Darknesses: Lavar Munroe’s sinister fantasy creatures in the “specimens” series.

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

Dave Smith “Violence, the beauty of paradise”: The art of capturing the lingering impact

Dialling Into the Void: Kenneth Heslop’s NELEVEN Portal

A Body Of My Own: Anina Major reclaims the body

Feature from the Collection: Burnside Crowns a King

The Nature of Art: In proverbial bloom

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

Epistemic and Cultural Violence: Powercutting as Light

Antonius, AfriCOBRA, and the Aesthetics of a True-True Bahamian

95%: Jordanna Kelly and Jenna Chaplin’s NELEVEN Installation

Reconnecting to the Divine Feminine

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

From The Collection: “A Native Sugar Mill” (ca. 1901) by William Henry Jackson

Traditional Knowledge Living in the Tropics: Respecting Lifeways

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

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

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

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

Lamenting Slavery: Unearthing our history through art.

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

Inside The Silverfish: Cin on Craft, Culture, and Consumption

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

Finding Our Voices: Resisting Violence and Oppression

Push Out: Jodi Minnis and Ian Bethell-Bennett Investigate the Mythologies and Futures of Gentrification in Over-the-Hill

Cultural Development and Investment: The Recognition of Our Cultural Heritage

Dialect and Diaspora: The Intuitive Art of Joseph “Joe Monks” Weaver

Traversing the Picturesque: A thought

Timelines: Developing Blackness

The Straw Paradox

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

Balancing Act: Heino Schmid’s Temporary Horizon (2010)

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

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

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

Angelic Remembrance: Antonius Roberts’ memorialises women of faith

Re-Encounter: Thoughts of a Mad Mind

Art, Culture, and Representation: Reflecting on Self and Nation

Of Beauty, Community, and Healing

Locked in Our Bodies: A Resurrection of Voices

The Long Eye of Culture: A Mash Up, a Hybrid

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

Look, Listen, Live: A Space for Artistic and Cultural Expression

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

Chan Pratt’s Work Speaks to the Urbanisation of the Bahamian Landscape

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