An essay on African art's relationship with the Venice Biennale, examining why landmark moments of global visibility — from Ghana's 2019 pavilion to Okwui Enwezor’s curatorial leadership — have yet to produce the organised institutional infrastructure that would make African art's presence on the world stage permanent.

After a decade of platform-driven visibility, the African art market faces a critical question: can institutional depth replace speculative momentum as the foundation for growth?

A Review of the landmark exhibition at the Tate Modern

A Review of Kerry James Marshall's double act in London.

The global market embraced art from Africa — but is that alone enough to sustain it?

Interrogating the notion of ‘primitivism’ and its connotations in reference to ‘Negro art’ as a marker of inherent inferiority.

A critical review of Ghana’s debut at the Venice Art Biennial.

Problematising Decolonisation.

A comparative analysis of ‘custom’ with reference to Papua New Guinea.