Reviewing Gravity and Grace at the Brooklyn Museum, Maeve Gately examines El Anatsui’s large metal hangings and their capacity to change with each installation. The exhibition combined twelve monumental works with pieces in other materials. Her account connects the Ghanaian artist’s use of Nigerian liquor-bottle caps to West African histories of trade and consumption, while emphasizing the sculptures’ shifting surfaces and spatial presence.
A 2013 C& feature by Jonathan Fine examined Nigerian exhibition pamphlets held by London’s Stuart Hall Library. Its bibliography brings together records from the late 1980s and early 1990s, including publications featuring El Anatsui, Ndidi Dike and Obiora Udechukwu. Fine argues that these easily overlooked documents preserve information about artistic networks and working conditions that more prominent publications can miss.