Three works by British-Nigerian artist Okiki Akinfe have been acquired for Abbot Hall in Kendal through the inaugural Dasha Shenkman Focus Fund. Shalom Esene’s Art Report Africa profile examines the painter’s practice following the selection at Frieze London. The acquisition comprises a painting, a lightbox work and a preparatory drawing, placing several aspects of her work in a public collection. The fund supports an acquisition, rather than an unrestricted cash award to the artist.
Hyperallergic’s October 20 newsletter highlights the launch of Mohammad Omer Khalil: Common Ground at New York’s Center for Art, Research and Alliances on October 25. The organisers describe the book, edited by Amina Ahmed and Jenna Hamed, as a collection of essays, studio material and archival records tracing the Sudanese artist’s career between Sudan, Italy and New York. The event will combine readings with conversation involving Khalil and contributors.
Hyperallergic·
Contextual aerial view of Kinshasa, not a competition entry. Photograph by EdwinAlden.1995; existing rotation by Respublik.EdwinAlden.1995 · CC BY-SA 4.0
Kinshasa’s Best Talent Visuel competition will use drawing, photography, graphic design and video to explore the capital under the theme “Kin la Belle”. Organiser Platini Ndaka told ACP that the November 2 edition aims to foreground cultural heritage, local talent and everyday initiatives, encouraging artists to tell more varied stories about the city.
In an ART AFRICA interview published on 20 October, researcher Jane Freedman reflects on a Johannesburg exhibition in which young people used photography and podcasts to examine migration and belonging. Participants selected and arranged their own work, retaining control over how their stories were shared. The exhibition opened at Bag Factory Artists’ Studios on 13 June 2026; the new interview considers its participatory approach rather than announcing a forthcoming show.
Olivier Barlet examines how Jacques Panijel’s Octobre à Paris and Yasmina Adi’s Ici on noie les Algériens approach the repression of Algerian demonstrators in Paris. His review considers testimony, language, reconstruction and archival images. The films feature in an Algerian cinema programme in Paris, while Panijel’s documentary returns to French cinemas on October 21.
In an ART AFRICA interview, Anina Major discusses translating Bahamian palm-plaiting traditions into ceramic sculpture for The Sacred Mangrove at Pérez Art Museum Miami. Drawing on skills inherited from her grandmother, the installation connects family memory, migration and Caribbean ecology. Major describes bottle trees as references to African-diaspora spiritual practices and questions the separation of craft from fine art. The interview considers how inherited techniques change across generations and places.
ART AFRICA·
Rosana Paulino at the Venice Biennale, 7 May 2026. Contextual portrait; the New York exhibition discussed here is not pictured.Hano · CC BY-SA 4.0
In an interview with Daniela Mayer, Afro-Brazilian artist Rosana Paulino explains how her artist’s book ¿História Natural? challenges colonial representations of Brazil and Black people. The 2016 work combines printmaking, altered expedition photographs and stitching on paper and fabric. Presented by the Vera List Center in New York, her exhibition places that critique of archival images alongside her natural-pigment drawings of figures within seeds.
For National Heroes Day, Jamaica's National Gallery highlighted Michael ‘FreeStylee’ Thompson's 2010 digital poster Rebel from its collection. The work depicts Paul Bogle, leader of the 1865 Morant Bay Rebellion. The museum's October 19 post connects the image to the holiday's remembrance of Jamaica's national heroes.
National Gallery of Jamaica·
Museo de Arte Contemporáneo de Puerto Rico, March 2009—not a view of the current exhibition. Photograph: Carlo Giovannetti (Thief12 at English Wikipedia), CC BY-SA 3.0, via Wikimedia Commons.Thief12 at English Wikipedia · CC BY-SA 3.0
Afro-Caribbean artist Awilda Sterling-Duprey is among the participants in Diasporican Abstraction: Identities Beyond Representation at the Museo de Arte Contemporáneo de Puerto Rico. The museum’s sponsored announcement describes a survey of more than sixty artists exploring migration, memory and abstraction across Puerto Rico and its diaspora. Sterling-Duprey’s inclusion connects the show to an artistic practice that the Joan Mitchell Foundation describes as combining abstract painting and Caribbean religious dance traditions.
Two bronze sculptures by Alfred Liyolo at the Congolese press agency’s Kinshasa headquarters are receiving renewed attention after a visit by his daughter, Myoto Liyolo. ACP’s account recalls their installation in 1975 and considers their place in the agency’s history, connecting the sculptor’s monumental practice with the preservation of institutional cultural heritage.
The Democratic Republic of Congo’s visual artists’ union and Belgium’s Stanley’s Auctions have announced talks towards a strategic partnership. According to a communiqué reported by ACP, discussions will address artwork traceability, authentication, contracts and artists’ rights. The proposed framework also seeks to protect artists’ market standing and strengthen safeguards for Congolese cultural heritage.
Kunstinstituut Melly in Rotterdam announced a survey of South African artist Moshekwa Langa spanning work made between 1995 and 2026. Curated by Gabi Ngcobo and Kabelo Malatsie, You Will Find Us in the Best Places will bring together nearly 120 works across drawing, collage, photography, video and installation. ART AFRICA describes a presentation organized around recurring memories, places and questions of belonging rather than a strict chronology.
ART AFRICA·
Ibrahim Mahama at Art Basel in Basel, Switzerland, on 20 June 2025. Contextual artist portrait, not the Paris exhibition. Photo: Bea Phi, CC BY-SA 4.0.Bea Phi · CC BY-SA 4.0
ART AFRICA reports that Ibrahim Mahama’s The Harvest Season at Fondation Cartier in Paris will connect installations and archival materials with contributions from nine artists and collectives. Drawing on Ghana’s colonial and postcolonial histories, the exhibition examines labour, industrial heritage and collective memory. Contributors include James Barnor, Dorothy Akpene Amenuke, Gideon Appah, Zohra Opoku and the Congolese collective CATPC, extending the collaborative approach of Mahama’s cultural institutions in Tamale.
ART AFRICA describes Sonja John’s Balikbayan installation at the Katonah Museum of Art as an exploration of migration and Caribbean family memory. Collage, stencils and light connect architectural shapes with plant imagery, drawing on relationships between New York, Jamaica, Trinidad and Tobago, and the Philippines. Visitors can also take part in mixed-media activities and a collaborative light installation. The exhibition runs until 24 January 2027.
Intermittent Islands at New York’s Katonah Museum of Art brings together Belkis Ayón, Yanira Collado, Marielle Plaisir and Lisa C Soto. ART AFRICA describes an exhibition connecting Caribbean displacement and cultural memory through printmaking, textiles, found materials and installation. Ayón draws on Afro-Cuban spiritual traditions, while Plaisir examines race and power; their works connect personal experience with wider histories of identity and belonging.
The Photographers’ Gallery in London presents Colour Years, an exhibition of Sanlé Sory’s colour photographs from Burkina Faso. ART AFRICA reports that the Burkinabé photographer began experimenting with colour in the mid-1980s at his Volta Photo studio in Bobo-Dioulasso. Curated by Taous Dahmani, the presentation includes restored prints and Volta Jazz record covers, examining portraiture, self-representation and everyday life after independence.
ART AFRICA reports on Torkwase Dyson’s first solo exhibition in Austria, at Kunsthaus Bregenz. Monumental sculptures, paintings, animation and sound examine how Black communities create spaces of autonomy within environments shaped by slavery and colonialism. Dyson’s large black sculptural forms and abstract compositions turn the museum itself into part of her inquiry into movement and belonging. The exhibition is reported on view until 24 January 2027.
ART AFRICA reports that Ayana Evans’s first museum survey at the Contemporary Art Museum St. Louis brings together performance documentation, videos, archival material and new work. Curated by Dean Daderko, the exhibition explores how race, gender and class influence visibility and self-expression. It includes her long-running Operation Catsuit project and an interactive installation inviting visitors onto a red carpet. The exhibition is reported on view until 7 February 2027.