Skip to Main Content
Skip Nav Destination

The conclusion takes a brief look at where some of the artists discussed—Noah Purifoy, David Hammons, Senga Nengudi, and others—ended up in the 1980s and beyond. The chapter thinks about how West Coast black practice of the 1960s and 1970s crafted an African diasporic aesthetics. The global concern of these artists laid the groundwork for a wide-ranging multimedia practice that impacted the international art world. The book ends with a look at artist Sanford Biggers, who inherited and expanded ideas his West Coast predecessors engaged in earlier decades.

This content is only available as PDF.
You do not currently have access to this chapter.
Don't already have an account? Register
Close Modal

or Create an Account

Close Modal
Close Modal