New York Times critic Roberta Smith has an explanation for why Kehinde Wiley (currently exhibiting his “The World Stage: Lagos-Dakar” at the Studio Museum in Harlem) can not be dismissed as “a passing art fancy,” but is a durable talent. It has a lot to do with painting the “consistently darker” skin of his African subjects in the “Lagos-Dakar” series. I am not sure what to make of this.
Here.
