... pragmatics global immanence Journal of Contemporary African Art 46 May 202028 Nka DOI 10.1215/10757163-8308150 © 2020 by Nka Publications Susan Buck-Morss U niversal history as traditionally understood emerged out of the semi-secularization of Biblical history that followed Hegel s attempt to think...

... exhibition; structured and organized in a globally engaging experience where art is a manifestly social and rhythmic white cube-museum format, including major and political concern, and thus not an exclusive property of the art minor contributions of some 100+ artists/artist groups...

... for those who migrate internationally, leave their homeland for another place, and repre- sent, reputedly, a kind of global cosmopolitanism. Instead of becoming free...

... world has simultaneously begun to celebrate and make spectacles of black bodies in the global marketplace. This phenomenon...

..., and cubism in the wake of their artistic exaltation in Europe, while his writings seek new ways to express artistic freedom and social awareness through the lens of local and global arts. In 1943, Telmisany put an end to his two passions, art critique and painting. Following the Third Exposition...

... used by from Black Arts was something I wrote about in many of these lit crits kept many readers at bay. The the mid-­1980s, in an essay called “Black Writing as displacement of the original art piece by the tex- Immanent Humanism.” The infusion of new energy tual or theoretical analysis...

... their these exhibitions have transcended traditional representation in exhibitions and global art boundaries in the visual arts by incorporating forums. This is the main goal of the roundtable, popular culture, situating the visual in relation to which is brilliantly moderated by our colleague...