– 30 Americans, 2008: 30 Americans, (exh. cat., Miami, Rubell Family Collection, 2008), Miami, 2008.
– Aaron Douglas, 2007: Aaron Douglas: African American Modernist, Susan Earle ed., (exh. cat., Lawrence, Spencer Museum of Art, University of Kansas, 2007), Lawrence, 2007.
– African American Art, 2012: African American Art: Harlem Renaissance, Civil Rights Era and Beyond, Richard J. Powell, Virginia Meckenburg, (exh. cat., Washington, D.C., Smithsonian American Art Museum, 2012), Washington, D,C., 2012.
– Afro-Modern, 2010: Afro-Modern: Journeys through the Black Atlantic, Tanya Barson, Peter Gorschluter eds., (exh. cat., Liverpool, Tate Liverpool, 2010), Liverpool, 2010.
– After 1968, 2008: After 1968: Contemporary Artists and the Civil Rights Legacy, Jeffrey D. Grove, (exh. cat., Atlanta, High Museum of Art, 2008), Atlanta, 2008.
– Als, 2013: Hilton Als et al., Kara Walker: Dust Jackets for the Niggerati, New York, 2013.
– Amaki, Barnwell Brownlee, 2007: Amalia Amaki, Andrea Barnwell Brownlee, Hale Woodruff, Nancy Elizabeth Prophet, and the Academy, Seattle, 2007.
– American People…, 2011: American People, Black Light: Faith Ringgold’s Paintings of the 1960s, Michele Wallace, (exh. cat., Purchase, Neuberger Museum of Art, 2011), Purchase, 2011.
– Archibald Motley, 2014: Archibald Motley: Jazz Age Modernist, Richard J. Powell ed., (exh. cat., Durham, Nasher Museum of Art at Duke University, 2014), Durham, 2014.
– Arnett, 2006a: Paul Arnett ed., Gee’s Bend: The Architecture of the Quilt, Atlanta, 2006.
– Arnett, 2006b: Paul Arnett ed., Thornton Dial in the 21st Century, Atlanta, 2006.
– Ater, 2011: Renee Ater, Remaking Race and History: The Sculpture of Meta Warrick Fuller, Berkeley, 2011.
– Back to Black, 2005: Back to Black: Art, Cinema & the Racial Imaginary, Richard J. Powell ed., (London, Whitechapel Art Gallery, 2005), London, 2005.
– Backer, 2013: Yona Backer, Radical Presence: Black Performance in Contemporary Art, Houston, 2013.
– Barkley L. Hendricks, 2008: Barkley L. Hendricks: Birth of the Cool, Trevor Schoonmaker ed., (exh. cat., Durham, Duke University, Nasher Museum of Art, 2008), Durham, 2008.
– Barnwell, Oliver, 2008: Andrea Barnwell, Valerie Cassel Oliver, Cinema Remixed and Reloaded: Black Women Artists and the Moving Image since 1970, Seattle, 2008.
– Becker, 2013: Cynthia Becker, “New Orleans Mardi Gras Indians: Mediating Racial Politics from the Backstreets to Main Street,” in African Arts, 46/2, 2013, p. 36-49.
– Belisle, 2011: Brooke Belisle, “Felt Surface, Visible Image: Lorna Simpson’s Photography and the Embodiment of Appearance,” in Photography and Culture, 4/2, 2011, p. 157-178.
– Bernier, 2009: Celeste-Marie Bernier, African American Art and Visual Culture: From Slavery to the Present, Chapel Hill, 2009.
– Berry, 2007: Ian Berry et al., Kara Walker: Narratives of a Negress, New York, 2007.
– Bill Traylor, 2005: Bill Traylor, William Edmondson and the Modernist Impulse, Josef Helfenstein, (exh. cat., Urbana, University of Illinois, Krannert Art Museum, 2005), Urbana, 2005.
– Bill Traylor, 2012: Bill Traylor: Drawings from the Collections of the High Museum of Art and the Montgomery Museum of Fine Arts, Susan Crawley, (exh. cat., Atlanta, High Museum of Art, 2012), Atlanta, 2012.
– Bindman, Gates, 2014: David Bindman, Henry Louis Gates Jr. eds., The Image of the Black in Western Art, V, 2, The Twentieth Century: The Rise of Black Artists, Cambridge, 2014.
– Black Folk Art…, 1982: Black Folk Art in America, 1930-1980, Jane Livingston, John Beardsley, (exh. cat., Washington, D.C., Corcoran Gallery of Art, 1982), Washington, D.C., 1982.
– Black Light/White Noise, 2007: Black Light/White Noise: Sound and Light in Contemporary Art, Marti Mayo et al., (exh. cat., Houston, Contemporary Art Museum, 2007), Houston, 2007.
– Black Panther, 2007: Black Panther: The Revolutionary Art of Emory Douglas, Sam Durant ed., (exh. cat., Los Angeles, Museum of Contemporary Art, 2007), Los Angeles, 2007.
– Bowles, 2011: John P. Bowles, Adrian Piper: Race, Gender, Embodiment, Durham, 2011.
– Brand, 2006: Peg Brand, “Feminist Art Epistemologies: Understanding Feminist Art,” in Hypatia, 21/3, 2006, p. 166-189.
– Brawley, 1918: Benjamin G. Brawley, The Negro in literature and art in the United States, New York, 1918.
– Brown, 2012: Caroline A. Brown, The Black Female Body in American Literature and Art: Performing Identity, New York, 2012.
– Buick, 2010: Kirsten Pai Buick, Child of Fire: Mary Edmonia Lewis and the Problem of Art History’s Black and Indian Subject, Durham, 2010.
– Calo, 2007: Mary Ann Calo, Distinction and Denial: Race, Nation and the Critical Construction of the African American Artist, 1920-1940, Ann Arbor, 2007.
– Carrie Mae Weems, 2012: Carrie Mae Weems: Three Decades of Photography and Video, Kathryn E. Delmez ed., (exh. cat., New York, Guggenheim Museum, 2012), New York, 2012.
– Charles Ethan Porter, 2008: Charles Ethan Porter: African American Master of Still Life, Hildegard Cummings, (exh. cat., New Britain, New Britain Museum of Art, 2008), New Britain, 2008.
– Collins, Crawford, 2006: Lisa Gail Collins, Margo Natalie Crawford eds., New Thoughts on the Black Arts Movement, New Brunswick, 2006.
– Common Wealth, 2015: Common Wealth: Art by African Americans in the Museum of Fine Arts, Lowery Stokes Sims ed., (exh. cat., Boston, Museum of Fine Arts, Boston, 2015), Boston, 2015.
– Cooks, 2011: Bridget Cooks, Exhibiting Blackness: African Americans and the American Art Museum, Amherst, 2011.
– Cooks, 2014: Bridget Cooks, “The Gee’s Bend Effect,” in Textile: The Journal of Cloth & Culture, 12, 2014, p. 346-363.
– Cooksey, 2013: Susan Cooksey, Kongo Across the Waters, Gainesville, 2013.
– Copeland, 2013: Huey Copeland, Bound to Appear Art, Slavery, and the Site of Blackness in Multicultural America, Chicago, 2013.
– Crown, Russell, 2007: Carol Crown, Charles Russell, Sacred and Profane: Voice and Vision in Southern Self-taught Art, Jackson, 2007.
– Dawoud Bey…, 2012: Dawoud Bey Harlem USA, Matthew S. Witkovsky ed., (exh. cat., Chicago, Art Institute of Chicago, 2012), Chicago, 2012.
– DeLand, 2012: Lauren DeLand, “Black Skin, Black Masks: The Citational Self in the Work of Glenn Ligon,” in Criticism, 54/4, 2012, p. 507-537.
– Double-Consciousness, 2005: Double-Consciousness: Black Conceptual Art Since 1970, Valerie Cassel Oliver, (exh. cat., Houston, Contemporary Art Museum, 2005), Houston, 2005.
– Energy/Experimentation, 2006: Energy/Experimentation: Black Artists and Abstraction, 1964-1980, Kellie Jones, (exh. cat., New York, Studio Museum in Harlem, 2006), New York, 2006.
– English, 2007: Darby English, How to See a Work of Art in Total Darkness, Cambridge, 2007.
– Enwezor, 2006: Okwui Enwezor, Lorna Simpson, New York, 2006.
– Farrington, 2005a: Lisa Farrington, Creating in Their Own Image: The History of African American Women Artists, New York, 2005.
– Farrington, 2005b: Lisa Farrington ed., Source: Notes in the History of Art, special issue “African-American Art,” 24, 2005.
– Fine, 2004: Gary Alan Fine, Everyday Genius: Self-Taught Art and the Culture of Authenticity, Chicago, 2004.
– Fine, 2005: Ruth Fine, “Expanding the Mainstream: Romare Bearden Revisited,” in Proceedings of the American Philosophical Society, 149/1, 2005, p. 40-55.
– Fine, Francis, 2011: Ruth Fine, Jacqueline Francis eds., Romare Bearden, American Modernist, (Studies in the History of Art Series, 71), Washington, D.C., 2011.
– Fleetwood, 2011: Nicole Fleetwood, Troubling Vision: Performance, Visuality and Blackness, Chicago, 2011.
– Flow, 2008: Flow, Thelma Golden ed., (exh. cat., New York, Studio Museum in Harlem, 2008), New York, 2008.
– A Force for Change, 2009: A Force for Change: African American Art and the Julius Rosenwald Fund, Daniel Schulman, (Chicago, Spertus Institute for Jewish Learning and Leadership, 2009), Chicago, 2009.
– Fore, 2013: Fore, Thelma Golden ed., (exh. cat., New York, Studio Museum in Harlem, 2013), New York, 2013.
– Francis, 2012: Jacqueline Francis, Making Race: Modernism and Racial Art in America, Seattle, 2012.
– Freestyle, 2001: Freestyle, Thelma Golden ed., (exh. cat., New York, Studio Museum in Harlem, 2001), New York, 2001.
– Frequency, 2005: Frequency, Thelma Golden ed., (exh. cat., New York, Studio Museum in Harlem, 2005), New York, 2005.
– From the Margins, 2014: From the Margins: Lee Krasner/Norman Lewis, 1945-1952, Norman L. Kleeblatt, (exh. cat., New York, Jewish Museum, 2014), New York, 2014.
– Glenn Ligon, 2011: Glenn Ligon: AMERICA, Scott Rothkopf, (exh. cat., New York, Whitney Museum of American Art, 2011), New York, 2011.
– Goeser, 2007: Caroline Goeser, Picturing the New Negro: Harlem Renaissance Print Culture and Modern Black Identity, Lawrence, 2007.
– Golden, 2010: Thelma Golden ed., Re: Collection; Selected Works from The Studio Museum in Harlem, New York, 2010.
– Golden, 2012: Thelma Golden ed., Kehinde Wiley, New York, 2012.
– Gonzalez, 2011: Jennifer A. Gonzalez, Subject to Display: Reframing Race in Contemporary Installation Art, Cambridge, 2011.
– ‘Great and Mighty Things’…, 2013: ‘Great and Mighty Things’: Outsider Art from the Jill and Sheldon Bonovitz Collection, Ann Percy ed., (exh. cat., Philadelphie, Philadelphia Museum of Art, 2013), Philadelphie, 2013.
– Gundaker, McWillie, 2005: Grey Gundaker, Judith McWillie, No Space Hidden: The Spirit of African American Yard Work, Knoxville, 2005.
– Guzman, 2008: Rene de Guzman, Hank Willis-Thomas: Pitch Blackness, New York, 2008.
– Hassan, Crawford, 2011: Salah Hassan, Margo Crawford eds., theme issue “Remembering the Black Arts Movement,” Nka: Journal of Contemporary African Art, 29, 2011.
– Hassan, Crawford, 2012: Salah Hassan, Margo Crawford eds., theme issue “The Black Arts Movement: Testimonials/Documents/Conversations,” Nka: Journal of Contemporary African Art, 30, 2012.
– Henry Ossawa Tanner, 2012: Henry Ossawa Tanner: Modern Spirit, Anna O. Marley ed., (exh. cat., Philadelphie, Pennsylvania Academy of the Fine Arts, 2012), Philadelphie, 2012.
– Hills, 2009: Patricia Hills, Painting Harlem Modern, The Art of Jacob Lawrence, Berkeley, 2009.
– Horace Pippin, 2015: Horace Pippin: The Way I See It, Audrey Lewis et al., (exh. cat., Chadds Ford, Brandywine River Museum of Art, 2015), Chadds Ford, 2015.
– Jacob Lawrence, 2015: Jacob Lawrence: The Migration Series, Leah Dickerman, Elsa Smithgall eds., (exh. cat., New York, Museum of Modern Art, 2015), New York, 2015.
– Jean-Michel Basquiat, 2010: Jean-Michel Basquiat, Dieter Buchhart ed., (exh. cat., Paris, Musée d’art moderne, 2010), Paris, 2010.
– Jones, 2011: Kellie Jones, Eye-Minded, Durham, 2011.
– Kara Walker, 2007: Kara Walker: My Complement, My Enemy, My Oppressor, My Love, Philippe Vergne ed., (exh. cat., Minneapolis, Walker Art Center, 2007), Minneapolis, 2007.
– Keith, 2005: Tricia Keith, “Strategy or Spectacle? Postmodernism, African-American Artists and Art scholarship,” in Third Text, 19, 2005, p. 617-623.
– Ketner, 2011: Joseph D. Ketner, “Struggles many and great: James P. Ball, Robert Duncanson, and other artists of color in antebellum Cincinnati,” in Magazine Antiques, 178, 2011, p. 108-115.
– Kirschke, 2014: Amy Helene Kirschke ed., Women Artists of the Harlem Renaissance, Jackson, 2014.
– Lamm, 2011: Kimberly Lamm, “Seeing Sex and Racism in Lorna Simpson’s You’re Fine,” in n.paradoxa: International Feminist Art Journal, 28, 2011, p. 88-93.
– Lewis, 2009: Samella Lewis, Barthé: His Life in Art, Los Angeles, 2009.
– Lois Mailou Jones…, 2009: Lois Mailou Jones: A Life in Vibrant Colors, Carla M. Hanzal ed., (exh. cat., Charlotte, Mint Museum of Art, 2009), Charlotte, 2009.
– Martin Puryear, 2007: Martin Puryear, John Elderfield ed., (exh. cat., New York, Museum of Modern Art, 2007), New York, 2007.
– Maus, Donahue, 2014: Derek C. Maus, James J. Donahue eds., Post-Soul Satire: Black Identity After Civil Rights, Jackson, 2014.
– Mayer, 2005: Marc Mayer ed., Basquiat, New York, 2005.
– Mercer, 2005: Kobena Mercer ed., Cosmopolitan Modernisms, Cambridge, 2005.
– Mercer, 2006: Kobena Mercer ed., Discrepant Abstraction, Cambridge, 2006.
– Mercer, 2007: Kobena Mercer ed., Pop Art and Vernacular Cultures, Cambridge, 2007.
– Mercer, 2008: Kobena Mercer ed., Exiles, Diasporas & Strangers, Cambridge, 2008.
– Mercer, 2012: Kobena Mercer, “Art History and the Dialogics of Diaspora,” in Small Axe: A Caribbean Journal of Criticism, 16/2, 2012, p. 213-227.
– Mercer V.J., 2012: Valerie J. Mercer, “Introduction,” in Bulletin of the Detroit Institute of Arts, theme issue “African American Art,” 86, 1/4, 2012, p. 1-123.
– Mickalene Thomas, 2012: Mickalene Thomas: Origin of the Universe, Lisa Melandri ed., (exh. cat., Santa Monica, Santa Monica Museum of Art, 2012), Santa Monica, 2012.
– Morton, 2012: Tom Morton, “Infinite Blackness,” in Parkett, 90, 2012, p. 122-128.
– Murray, 2007: Derek Conrad Murray, “Post Post-Black: Some Politically Incorrect Thoughts on the Reception and Contemplation of African American Art,” in Art Journal, 66/4, 2007, p. 112-114.
– Murray, 1916: Freeman Henry Morris Murray, Emancipation and the Freed in American Sculpture, Washington, D.C., 1916.
– NeoHoodoo, 2008: NeoHoodoo: Art for a Forgotten Faith, Franklin Sirmans ed., (exh. cat., Houston, Menil Collection, 2008), Houston, 2008.
– ‘Now Dig This!’, 2013: ‘Now Dig This!’: Art and Black Los Angeles, 1960-1980, Kellie Jones, (exh. cat., Los Angeles, University of California, Hammer Museum, 2013), Los Angeles, 2013.
– Ott, 2008: John Ott, “Labored Stereotypes: Palmer Hayden’s The Janitor Who Paints,” in American Art, 22/1, 2008, p. 102-115.
– Patton, 1998: Sharon F. Patton, African American Art, New York, 1998.
– Pinder, 2011: Kymberly N. Pinder, “Painting the Gospel Blues,” in American Art, 25/3, 2011, p. 76-99.
– Portraits of a People, 2006: Portraits of a People: Picturing African Americans in the 19th Century, Gwendolyn DuBois Shaw, (exh. cat., Andover, Addison Gallery of American Art, 2006), Andover, 2006.
– Powell, 2002: Richard J. Powell, Black Art: A Cultural History, London, 2002.
– Powell, 2008: Richard J. Powell, Cutting a Figure: Fashioning Black Portraiture, Chicago, 2008.
– Rashid Johnson, 2012: Rashid Johnson: Message to Our Folks, Julie Rodrigues Widholm, (exh. cat., Chicago, Museum of Contemporary Art, 2012), Chicago, 2012.
– Represent, 2014: Represent: 200 years of African American Art in the Philadelphia Museum of Art, Gwendolyn DuBois Shaw ed., (exh. cat., Philadelphie, Philadelphia Museum of Art, 2014), Philadelphie, 2014.
– Rising Up, 2012: Rising Up: Hale Woodruff’s Murals at Talladega College, Stephanie Heydt ed., (exh. cat., Atlanta, High Museum of Art, 2012), Atlanta, 2012.
– Romare Bearden, 2011: Romare Bearden: American Modernist, Ruth Fine, Jacqueline Francis eds., (exh. cat., Washington, D.C., National Gallery of Art, 2011), Washington, D.C., 2011.
– Rothenberg, Fine, 2008: Julia Rothenberg, Gary Alan Fine, “Art Worlds and their ethnographers,” in Éthnologie française, 38, 2008, p. 31-37.
– Russell, 2011: Charles Russell, Groundwaters: A Century of Art by Self-Taught And Outsider Artists, New York, 2011.
– Schur, 2007: Richard Schur, “Post-Soul Aesthetics in Contemporary African American Art,” in African American Review, 41/4, 2007, p. 641-654.
– Shaw, 2005: Gwendolyn DuBois Shaw, “Moses Williams, Cutter of Profiles”: Silhouettes and African American Identity in the Early Republic,” in Proceedings of the American Philosophical Society, 149/1, 2005, p. 22-39.
– Smith, 2011: Cherise Smith, Enacting Others: Politics of Identity in Eleanor Antin, Nikki S. Lee, Adrian Piper, and Anna Deavere Smith, Durham, 2011.
– Sobel, 2009: Mechal Sobel, Painting a Hidden Life: The Art of Bill Traylor, Baton Rouge, 2009.
– Taylor, 2007: Paul C. Taylor, “Post-Black, Old Black » in African American Review, 41/4, 2007, p. 625-640.
– They Seek a City, 2013: They Seek a City: Chicago and the Art of the Great Migration, 1910-1950, Sarah Kelly Oehler, (exh. cat., Chicago, Art Institute of Chicago, 2013), Chicago, 2013.
– Thompson C., 2013: Cheryl Thompson, “Contesting the Aunt Jemima Trademark through Feminist Art: Why is She Still Smiling?,” in n.paradoxa: International Feminist Art Journal, 31, 2013, p. 65-72.
– Thompson K., 2007: Krista Thompson, “Preoccupied with Haiti: The Dream of Diaspora in African American Art,” in American Art, 21/3, 2007, p. 74-97.
– Thompson K., 2009: Krista Thompson, “The Sound of Light: Reflections on Art History in the Visual Culture of Hip-Hop,” in Art Bulletin, 91/4, 2009, p. 481-505.
– Thompson K., 2011: Krista Thompson, “The Practice of African Diaspora Art History in the United States,” in Art Journal, 70/3, 2011, p. 6-31.
– Thompson K., 2015: Krista Thompson, Shine: The Visual Economy of Light in African Diasporic Aesthetic Practice, Durham, 2015.
– The Treasure of Ulysses Davis, 2008: The Treasure of Ulysses Davis, Susan Mitchell Crawley, (exh. cat., Atlanta, High Museum of Art, 2008), Atlanta, 2008.
– Tribe, 2007: Tania Tribe, “Visual Narrative and the Harlem Renaissance,” in Word and Image, 23/3, 2007, p. 391-413.
– Tribe, 2013: Tania Tribe, “Slavery to Hiroshima and Beyond: African American art and the Apocalypse,” in Word and Image, 29, 2013, p. 354-384.
– Vendryes, 2008: Margaret Rose Vendryes, Barthé: A Life in Sculpture, Jackson, 2008.
– Vincenti, 2006: Marissa Vincenti, “A Matter of Spirit: Aaron Douglas, Gurdjieffian Thought, and the Expression of ‘Conscious Art’,” in International Review of African American Art, 21/3, 2006, p. 11-15.
– Walker K., 2007: Kara Walker, After the Deluge, New York, 2007.
– Walker H., 2013: Hamza Walker, Black Is, Black Ain’t, Chicago, 2013.
– Wall, 2010: David Wall, “Transgression, Excess, and the Violence of Looking in the Art of Kara Walker,” in Oxford Art Journal, 33, 2010, p. 277-299.
– Wangechi Mutu, 2013: Wangechi Mutu: A Fantastic Journey, Trevor Schoonmaker ed., (exh. cat., Durham, Nasher Museum of Art at Duke University, 2013), Durham, 2013.
– When the Stars…, 2014: When the Stars Begin to Fall: Imagination and the American South, Thomas L. Lax ed., (exh. cat., New York, Studio Museum in Harlem, 2014), New York, 2014.
– Whitehead, Shiver, 2012: Tom Whitehead, Art Shiver, Clementine Hunter: Her Life and Art, Baton Rouge, 2012.
– Williams, 2007: Carla Williams, “Maudelle Bass: A Model Body,” in Nka: Journal of Contemporary African Art, 21, 2007, p. 34-46.
– Willis, 2009: Deborah Willis, Posing Beauty: African American Images from the 1890s to the Present, New York, 2009.
– Witness, 2014: Witness: Art and Civil Rights in the Sixties, Theresa Carbone, Kellie Jones, (exh. cat., Brooklyn, Brooklyn Museum, 2014), Brooklyn, 2014.
– Wolfskill, 2009: Phoebe Wolfskill, “Caricature and the New Negro in the Work of Archibald Motley Jr. and Palmer Hayden,” in Art Bulletin, 91, 2009, p. 343-365.
– Woods, 2009: Naurice Frank Woods Jr., “An African Queen at the Philadelphia Centennial Exposition 1876: Edmonia Lewis’s Death of Cleopatra,” in Meridians: Feminism, Race, Transnationalism, 9/1, 2009, p. 62-82.
– Zorach, 2011: Rebecca Zorach, “Art & Soul: An Experimental Friendship between the Street and a Museum,” in Art Journal, 70/2, 2011, p. 66-87.