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

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

Jace McKinney’s Prayer in a Dark Place

Aftermath: Field Notes on Loss and Belonging

A Body Of My Own: Anina Major reclaims the body

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

Gender and the Dream: Confronting Stereotypes in Black Masculinity

Epistemic and Cultural Violence: Powercutting as Light

Max Taylor’s ‘What to Do?’

The writing on the wall

The Mark of a Woman: Portraits of Black Womanhood in the Work of Gabrielle Banks

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

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

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

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

Designing for Space: Working with Possible Futures in Mind

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

Living in the Shadows of Empire: Territories of Dark and Light

Art’s healing properties

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

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

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

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

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

My Mouth is a Heartbreak: Anina Major’s “Wisdom Teeth” (2017)

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

Talking to the Dead: Tamika Galanis Brings Lomax Archive Materials Home

Conserving art in the tropical home

Speaking of culture: Thinking about change

A Choice Landscape: The Early Work of the Late Chan Pratt

Indigeneity and Art: Defining Our Values

Dialling Into the Void: Kenneth Heslop’s NELEVEN Portal

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

Brent Malone’s “Seaside Village” is the February Artwork of The Month

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

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

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

Eye on The Bahamas

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

Sounding the Alarm: Tanicia Pratt’s Blow the Whistle

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

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

Through the Eyes of a Tourist: Oh Island in the Sun, Funky Nassau

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

Villa Doyle and Beyond: Expanding NAGB’s Footprint

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

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

‘An We is Woman Too?’: Women and Labour in the NE8

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

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

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

The Black Woman Body Paradox

Feature from the Collection: Emancipation Day Boat Cruise

Breezes through Long Cay: Chapter 2

Re-Encounter: Thoughts of a Mad Mind

“The Story of “ETA”: Blue/Green Ragged Island” Ideation in Art and Design

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

Strange Fruit: Kendra Frorup’s Poignant Banana Plumes

We Lost Two Cultures That Day: Hurricane Irma and the Loss of Cultural Material

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

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

Field Notes on Planting Seeds in Uprooted Gardens

Allan Wallace’s ‘Let There Be Order’

Boiling: Field Notes on Loss and Belonging

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

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