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Art’s healing properties

Climate Refugees: On Becoming Climate Refugees or Building Back Differently

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

Owning our Image: Radical reclamation of self

From the Collection: ‘Bishops, bishops everywhere and not a drop to drink’ (2003) by Dionne Benjamin-Smith

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

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

A Distant Bahamas: “Native Hut” (1915) by Hartwell Leon Woodcock

Peggy Hering’s “Lilies” (1984): On Being Both Student and Teacher

Demure Facade, Colourful History: Sterling Miller’s “Villa Doyle” (ca. 1969)

Amos Ferguson’s Junkanoo Cow Face: Match Me If You Can

Sitting with the Dead: “Medium,” a show of Bahamian Religion and Spirituality

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

Everybody and Dey Grammy

Finding Our Voices: Resisting Violence and Oppression

From the Collection: Lynn Parotti’s “The Blastocyst’s Ball: A Journey Through the Drug Induced stages of IVF”

Striking the Balance: Reagan Kemp’s Emi

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

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

‘Picture Nassau’: Capturing and Redefining the Cultural Landscape

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

Preserving the Forgotten

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

Breezes through Long Cay: Chapter 2

The Life and Death of Street Trees: Jenna Chaplin’s call to attention for the importance of street trees for the upcoming NE9

A Body Of My Own: Anina Major reclaims the body

Gender and the Dream: Confronting Stereotypes in Black Masculinity

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

The writing on the wall

The Clapboard House: A Disappearing Relic within The Bahamian Landscape

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

“Burma Road” (c2008) by Maxwell Taylor

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

The January Artwork of the Month is ‘Beller’

The art of connectivity: Sinking our roots further down.

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

The Sea as Life: Cargo and VLOSA

Sounding the Alarm: Tanicia Pratt’s Blow the Whistle

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

The Beauty and Charm of Colonialism: April Bey’s “Power Girl” Series

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

Strange Fruit: Kendra Frorup’s Poignant Banana Plumes

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

Brent Malone’s ‘Balinese Woman With Flamingoes’

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

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

The Case for Lavar Munroe: The Son of Soil

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

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

Pasting Colours: Envisioning Alternatives

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

From the Collection: “Let Us Prey” (1984-86) by Dave Smith

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

Troubling Narratives: This is how we suffer to remain

The Nature of Art: In proverbial bloom

From the Collection​: “North Star” (2007-8) by Heino Schmid

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

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

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

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

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

The art of living in the tropics: An art of survival?

Max Taylor’s ‘What to Do?’

MasC Off: NE9 Artists Challenge Social Binary Views on Gender

Conserving art in the tropical home

Lamenting Slavery: Unearthing our history through art.