Dominique Duroseau read an article that said: ”...the Supreme Court has held that a school with one race or virtually one race within a district is not, in and of itself, the mark of a system that still practices segregation by law.” Personally I disagree, I think it’s the very definition of segregation today, regardless of what one calls it, regardless of its legality. Why worry about classroom segregation when entire schools remain so uniform?

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jc lenochan has several works featured in the exhibition that highlight diverse parts of his practice. What you think matters - a public drawing, derives from conversations about necessity and possibilities, in terms of our experience of class structures that we assume are democratic. What time you got? is part of the process of deconstructing myths and biased concepts of cultures and subcultures in order to reconfigure/reconstruct them the way they could exist over time. What my kids need to know by grade 4 is an ongoing project developed through the art of listening, which came about with fatherhood, when intent listening became a question of can we listen enough?

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L. Kasimu Harris is a storyteller who uses writing, photography and video to push the narrative. He's a New Orleans native who has participated in 20 group exhibitions across America, two abroad and three solo photography exhibitions. Harris's work modulates between photojournalism, documenting culture and constructed realities, all in an effort to tell stories of underrepresented comm unities in New Orleans and beyond. He created Parish Chic, a style column for the Oxford American and has been published in Yahoo Food, and Southern Living and The FADER. Most recently, a feature he wrote for Edible New Orlean was selected for the book "Best Food Writing 2016".

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Mitsuko Brooks painted a diagram illustrating Andrea Smith’s writings Heteropatriarchy and The Three Pillars of White Supremacy: ReThinking Women of Color Organizing on how to debunk assumed racial hierarchies with womyn of color onto a children's easel board left out for trash in Los Angeles.

"I use the spelling of 'womyn' in the title and piece referencing a spelling I was introduced to and used during my 90s riot girl zine days, which takes out the word "men" from the word to empower. My acrylic diagram painting within my sculpture is inspired by Smith's writings, consisting of circles which overlap and read: Asian American Womyn, Black Womyn, Latinas, Muslim Womyn."


Marvin Toure: Year One - Year Two, featured in Race and Revolution: Still Separate - Still Unequal, details the experiences of his MFA Fine Arts program (New York, NY). As one of four black students admitted to a program that hadn’t seen black bodies for years prior, Toure examined the results of inherent bias in this “safe space.” The current newspaper iteration serves to retell his story.

Antoine Williams: It would be naïve to believe that one piece of art or exhibition will solve an issue as complex as race in America. However, for every generation a conversation takes shape, and from that gives birth to a reaction to the systematic oppression of Black people, whether it’s mass incarceration or the wage gap for Black women. This exhibition Race and Revolution, is a part of that conversation.

Aram Han Sifuentes: The project US Citizenship Test Samplers highlights how one group of people (non-citizens) must prove their worthiness of becoming citizens by taking a test of questions that are condescending toward the immigrant community. Why must we study these questions when one-third of American citizens can’t even pass this test? What does our ability to answer such questions as “Who was president during WWI?” prove our worthiness of becoming citizens? The artist sells each piece for $910, the cost of applying for naturalization. When a piece is sold, the full amount goes directly to the maker.

Iviva Olenick: Schools where the artist teaches in New Jersey and parts of Queens and Brooklyn present varied demographics, with immigrants and the children of immigrants from Latin America, the Middle East, Asia, Southeast Asia, the Caribbean and Eastern Europe; and some African American and White students. Among immigrant populations, students' literacy and education levels in their native languages vary, as do commitments to and interest in academics. So rather than ethnic or racial segregation, these schools face challenges in meeting the varying school-preparation levels of diverse populations.

In (re)Integration Map, Iviva Olenick celebrates the students she has met in her work as an educator in New York City and New Jersey public schools. Page 32 by Monte Olenick is the artist’s embroidered rendition of a page of her father’s 1958 master’s thesis exploring possibilities for education reform.

Karen Lomax: This is a redesign of the text from an internal letter written by members of the Trump Administration’s Civil Rights Division and Department of Justice rescinding protections for transgender students to use the bathroom of their choice. The text is interwoven with stories and statistics exploring these issues.

Carine Maye: The exhibition Still Separate – Still Unequal shows an immediate connection to the work produced in the Troubled Seat and Tools of Separation Series created by artist Carina Maye. She directs attention to the unrecognized student who is forced to participate in the American educational system. There are clear and intentional obstacles in place to obstruct the progression of the students within the public education system. Today’s testing and curriculum design are not structured to holistically develop all students. This leaving one to question the future of these students and the life they will lead beyond the classroom. Examining the contentions minorities face in education and the organized techniques implemented by the defective structure to divide their students is the pivotal first step in a true call for reconstruction.


Shervone Neckles: In 2015, the McGraw-Hill

The Tales of Red Rag Rosie blends surface with depth, past with the present, real with the imaginary and serious with the playful. Through the use of craft techniques, such as doll making, the work attempts to identify the stories we choose to tell and those we choose to deny.

Primary 1: From the 1920’s to 1970’s Dick and Jane was required literature in Shervone’s early childhood reading and writing programs on the island of Granada, where the artist is from. Education geography textbook referred to Africans brought to American plantations as "workers" rather than slaves.

Primary 1 considers the implication of an education that does not reflect Red Rag Rosie’s historical narrative or her personal experiences.

Olalekan Jeyifous School segregation determines the quality of education for many. It is an issue of enormous importance where even those involved in the process of correcting the systems many glaring problems, often get it wrong.

As a challenge to my art-making practice I've taken a brief departure from the media I regularly work with in order to exploit the visual language of the High School Championship banner, a large tapestry which typically celebrates a school's varied athletic triumphs. Instead, I have created a series of "anti-banners" which present a few startling statistics on the testing, policing, and incarceration of Black and Latino students.

Uraline Septembre Hager: Like Feeding a Dog His Own Tail is informed by the artist’s work as a middle school special education teacher in New York City, where she observed the criminalization of youth within the school environment. She describes it as a “classroom built for one,” with fence bars mimicking the bars of prison cells as well as the fences that surround schools and playgrounds. As the artist states, "Special education is the new Jim Crow."

Mona Kamal Using materials that reflect school supplies and written to look like a diary, I Was an Adjunct is Mona Kamal’s account of her experiences as an adjunct professor and the injustices she observed. The number of entries represents one calendar month, so there are 31 accounts written.

Nicole Soto-Rodriguez Act # 3 Southwestern High School is the third video in a series of four (Abandonment Series) in which Nicole Soto-Rodriguez explores the concept and experience of abandonment. The site of her performance, Southwestern High School is a building in Detroit whose closure is still having ripple effects in the community. The students who attended Southwestern were predominantly Latin America, and their families worked in the nearby Cadillac Factory, which officially closed its doors in 1994 and during its peak employed an estimated 12,000 people. Families were forced to move to areas where there were available jobs. It is a call to sit down with the uncomfortable feeling of abandonment and allow yourself to experience it and maybe be able to bear it.

Dennis Redmoon Darkeem Hoops represents the education barriers and obstacles faced by public school children in low socioeconomic communities. Black and Brown children in these communities are forced to navigate racial disparities with lack of school funding, adequate resources, and qualified teachers. Furthermore, Black and Brown children are expected to be held at the same educational standards as those children in higher socioeconomic public schools in the midst of educational inequalities.

Damien Davis For this show, I have made four large Plexiglass works inspired by interviews I have done with my mother, Delores Davis. My mother was one of the first students to integrate the all-white high school (Crowley High) in her hometown of Crowley, Louisiana. She then went to a historically black college (Grambling University) and then worked as a high school teacher for 30 years before recently retiring.

The works include text taken directly from the interviews and also explore how lines can divide, connect, encircle, or diagram ideas.


Kayla Muldrow Stick figured - state of being, by artist and poet Kayla Muldrow, is a commentary on the student in school-like conditions. The student is dehumanized. In other words, once leaving high school a person has to go through a process of finding who he or she really is as a living breathing person.