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                        <loc>https://allisonkyoung.com</loc>
            
            
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            <url>
                        <loc>https://allisonkyoung.com/scholarship</loc>
            
            
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            <url>
                        <loc>https://allisonkyoung.com/scholarship-index</loc>
            
            
            <lastmod>2026-02-05T19:51:20+00:00</lastmod>
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                                            <image:caption>“Art for Liberation’s Sake: The Activist Art of Gavin Jantjes,” &lt;i&gt;post,&lt;/i&gt; the scholarly platform for the Museum of Modern Art’s Contemporary and Modern Art Perspectives (C-MAP) research initiative, October 2022</image:caption>
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                                            <image:caption>“Visuality and the Plantationocene: The Panoramas of Regina Agu” &lt;i&gt;Panorama: Journal of the Association of Historians of American Art&lt;/i&gt; 8:1 (Spring 2022)</image:caption>
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                    <image:loc>https://freight.cargo.site/t/original/i/H2267717071312993585407089282744/2-Jantjes-Freedom-Hunters-2048x1516-Cropped.jpg</image:loc>
                                            <image:caption>“Visualizing Apartheid Abroad: Gavin Jantjes’s Screenprints of the 1970s,” &lt;i&gt;Art Journal&lt;/i&gt; 76:3-4 (Winter 2017)</image:caption>
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                    <image:loc>https://freight.cargo.site/t/original/i/F2267718018885343163719336693432/coverimage-Cropped.png</image:loc>
                                            <image:caption>&amp;#x22;Renee Royale&amp;#x27;s Landscapes of Matter: Photography and the End of the World,” &lt;i&gt;liquid blackness: journal of aesthetics and black studies&lt;/i&gt;&lt;i&gt;&lt;/i&gt;, Vol. 8, Issue 2 (October 2024)</image:caption>
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                    <image:loc>https://freight.cargo.site/t/original/i/T2267723559457159422751712317112/Freestyle_Cover-_Web-Image-Optimized-Cropped.jpg</image:loc>
                                            <image:caption>“From Post-Black to the Afropolitan: The Studio Museum’s ‘F-Shows’ and Discourses on Black Art” in &lt;i&gt;The Routledge Companion to African Diaspora Art History&lt;/i&gt;, ed. Eddie Chambers (London: Routledge, 2024)</image:caption>
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                    <image:loc>https://freight.cargo.site/t/original/i/X2267734265449357713785312349880/images-Cropped.jpg</image:loc>
                                            <image:caption>“We Never Did Return: Migration, Materiality and Time in Penny Siopis’s Post-Apartheid Art,” &lt;i&gt;Contemporaneity: Historical Presence in Visual Culture&lt;/i&gt; 4:1 (2015)</image:caption>
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                                            <image:caption>“Between Two Gulfs: Ecological Politics and Black Geographies in the Work of Regina Agu,” &lt;i&gt;International Review of African American Art&lt;/i&gt; 29:4 (2020)</image:caption>
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                    <image:loc>https://freight.cargo.site/t/original/i/A2267745772011802059739742965432/images-1-Cropped.jpg</image:loc>
                                            <image:caption>“Lady of Silences: The Enigmatic Photo-Text Work of Zarina Bhimji,” &lt;i&gt;British Art Studies&lt;/i&gt; 20 (July 2021)</image:caption>
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                    <image:loc>https://freight.cargo.site/t/original/i/N2267769351451733814531838807736/9781913107055-Cropped.jpg</image:loc>
                                            <image:caption>Book Review of Sarah Thomas, &lt;i&gt;Witnessing Slavery: Art and Travel in the Age of Abolition&lt;/i&gt; (Yale University Press, 2019) for &lt;i&gt;Slavery and Abolition&lt;/i&gt; 42:2 (May 2021)</image:caption>
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                                            <image:caption>Book Review of William Chapman Sharpe, &lt;i&gt;Grasping Shadows: The Dark Side of Literature, Painting, Photography and Film&lt;/i&gt; (Oxford University Press, 2017) for &lt;i&gt;caa reviews&lt;/i&gt; (August 14, 2019)</image:caption>
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                                            <image:caption>Book Review of Delinda Collier, &lt;i&gt;Media Primitivism: Technological Art in Africa&lt;/i&gt; (Duke University Press, 2020) for &lt;i&gt;African Arts&lt;/i&gt; 55:3 (Autumn 2022)</image:caption>
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                                            <image:caption>“Ochre and Ore: Indigenous Ecopoetics in Contemporary South African Art” in &lt;i&gt;Methods in Ecocritical Art History,&lt;/i&gt; ed. Andrew Patrizio and Olga Smith (Manchester: Manchester University Press, 2026) </image:caption>
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                                            <image:caption>“Ochre and Ore: Indigenous Ecopoetics in Contemporary South African Art” in &lt;i&gt;Methods in Ecocritical Art History,&lt;/i&gt; ed. Andrew Patrizio and Olga Smith (Manchester: Manchester University Press, 2026) </image:caption>
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                        <loc>https://allisonkyoung.com/2025-ecocriticism</loc>
            
            
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            <url>
                        <loc>https://allisonkyoung.com/2024-liquid-blackness</loc>
            
            
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            <url>
                        <loc>https://allisonkyoung.com/2024-routledge-companion</loc>
            
            
            <lastmod>2026-01-20T18:24:03+00:00</lastmod>
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            <url>
                        <loc>https://allisonkyoung.com/2022-post-moma</loc>
            
            
            <lastmod>2025-05-21T18:06:26+00:00</lastmod>
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                        <loc>https://allisonkyoung.com/2022-african-arts</loc>
            
            
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                        <loc>https://allisonkyoung.com/2022-panorama</loc>
            
            
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                        <loc>https://allisonkyoung.com/2021-british-art-studies</loc>
            
            
            <lastmod>2025-05-21T18:06:26+00:00</lastmod>
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            <url>
                        <loc>https://allisonkyoung.com/2021-slavery-and-abolition</loc>
            
            
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            <url>
                        <loc>https://allisonkyoung.com/2020-iraaa</loc>
            
            
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            <url>
                        <loc>https://allisonkyoung.com/2019-grasping-shadows</loc>
            
            
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            <url>
                        <loc>https://allisonkyoung.com/2018-art-journal</loc>
            
            
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            <url>
                        <loc>https://allisonkyoung.com/2015-contemporaneity</loc>
            
            
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            <url>
                        <loc>https://allisonkyoung.com/exhibition-catalogues</loc>
            
            
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                        <loc>https://allisonkyoung.com/exhibition-catalogues-index</loc>
            
            
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                                            <image:caption>“Speaking Truth to Power” and “On Myth and Modernism” in &lt;i&gt;Gavin Jantjes: To Be Free! &lt;/i&gt;(Skira Editore, 2025)</image:caption>
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                    <image:loc>https://freight.cargo.site/t/original/i/J2267734265578484922301279211192/Screen-Shot-2023-03-10-at-8.54.37-AM-Cropped.png</image:loc>
                                            <image:caption>“Resistance and Reclamation” in &lt;i&gt;Nic[o] Brierre Aziz: I’d Rather Get Out of Jail Than Get $1,000,000&lt;/i&gt; (New Orleans: Antenna, 2023)</image:caption>
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                    <image:loc>https://freight.cargo.site/t/original/i/R2267734265191103296753378627256/1-Cropped.jpg</image:loc>
                                            <image:caption>Contributor to&lt;i&gt; 75 in 25: Important Acquisitions at the Santa Barbara Museum of Art &lt;/i&gt;(Santa Barbara, 2015)</image:caption>
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                    <image:loc>https://freight.cargo.site/t/original/i/S2267734265172656552679669075640/_fake_nudes_SMALL-Cropped.jpg</image:loc>
                                            <image:caption>“THERE was Eden” in &lt;i&gt;Elizabeth Chapin: Banishment of Solitude&lt;/i&gt; (New Orleans and Austin: Martine Chaisson Gallery and Cattywampus Press, 2021)</image:caption>
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                    <image:loc>https://freight.cargo.site/t/original/i/X2267734265357123993416764591800/download-Cropped.jpg</image:loc>
                                            <image:caption>Contributor to Short Guide, &lt;i&gt;All the World’s Futures&lt;/i&gt;, 56th Venice Biennale (Marsilo Editore, 2015)</image:caption>
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                    <image:loc>https://freight.cargo.site/t/original/i/U2267734265283337017121926385336/91jH6LeEkCL._AC_UF1000-1000_QL80_-Cropped.jpg</image:loc>
                                            <image:caption>Contributor to &lt;i&gt;Vitamin Txt: Words in Contemporary Art &lt;/i&gt;(Phaidon, 2024)</image:caption>
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                    <image:loc>https://freight.cargo.site/t/original/i/L2267734265467804457859021901496/NOMA-Cover_LVEditA-Cropped.jpg</image:loc>
                                            <image:caption>&lt;i&gt;Lina Iris Viktor: A Haven, A Hell, A Dream Deferred&lt;/i&gt; (New Orleans and Milan: New Orleans Museum of Art and Skira, 2019)</image:caption>
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                    <image:loc>https://freight.cargo.site/t/original/i/O2267734265560038178227569659576/Screen-Shot-2021-10-21-at-11.30.13-AM-Cropped.png</image:loc>
                                            <image:caption>Contributor to &lt;i&gt;African Artists: 1882 to Now&lt;/i&gt; (Phaidon, 2021)</image:caption>
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                                            <image:caption>Contributor to &lt;i&gt;Great Women Painters &lt;/i&gt;(Phaidon, 2022)</image:caption>
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                                            <image:caption>“Echoes and Erasures: Zarina Bhimji’s Art of Traces” in Zarina Bhimji: Flagging It Up (Edinburgh: Fruitmarket Gallery, 2023)</image:caption>
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                    <image:loc>https://freight.cargo.site/t/original/i/Y2267734265430910969711602798264/glitch_indigo_series_alia_ali._2021-Cropped.jpg</image:loc>
                                            <image:caption>“Shades of Blue - Alia Ali’s INDIGO: Vision and Opacity” in &lt;i&gt;Alia Ali: Flux&lt;/i&gt; (Frankfurt: Galerie Peter Sillem, 2021)</image:caption>
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                    <image:loc>https://freight.cargo.site/t/original/i/S2267734265596931666374988762808/Screenshot-2025-03-20-at-3.20.19PM-Cropped.png</image:loc>
                                            <image:caption>“A Reunion of Form” in &lt;i&gt;Remy Jungerman: Tracing the Line&lt;/i&gt; (Amsterdam: Jap Sam Books, 2024)</image:caption>
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                    <image:loc>https://freight.cargo.site/t/original/i/L2267734265301783761195635936952/5198TacD0cL._AC_UF1000-1000_QL80_-Cropped.jpg</image:loc>
                                            <image:caption>“To Say Without Saying: Abstraction and the Black Atlantic” in &lt;i&gt;The Measurement of Presence: Iris Kensmil and Remy Jungerman&lt;/i&gt;, Netherlands Pavilion at the 2019 Venice Biennale (Hannibal Publishing, 2019)</image:caption>
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                    <image:loc>https://freight.cargo.site/t/original/i/K2267734265504697946006441004728/Queen-Art-Book_1-Cropped.jpg</image:loc>
                                            <image:caption>“Myth Versus Reality: Robert Pruitt’s Visionary Afrofuturism” in &lt;i&gt;Queen: From the Collection of CCH Pounder &lt;/i&gt;(New Orleans: Xavier University, 2018)</image:caption>
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                    <image:loc>https://freight.cargo.site/t/original/i/C2267737971326455145739393797816/9780847868674-1-Cropped.jpg</image:loc>
                                            <image:caption>Contributor to &lt;i&gt;Prospect.5 New Orleans: Yesterday we said tomorrow&lt;/i&gt; (New York: Rizzoli, 2021)</image:caption>
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                    <image:loc>https://freight.cargo.site/t/original/i/F2267739347748710949651297177272/9780985096069-Cropped.jpg</image:loc>
                                            <image:caption>“Juliana Huxtable” in &lt;i&gt;Out of Easy Reach&lt;/i&gt; (Chicago: University of Chicago Press, 2018)</image:caption>
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                    <image:loc>https://freight.cargo.site/t/original/i/F2267741215481548412743398297272/Gild-the-Lily-Decadence-Upon-Decadence-III-2016-1-Cropped.jpg</image:loc>
                                            <image:caption>“Reflecting on Place: A Conversation with Carlos Rolón” in &lt;i&gt;Carlos Rolón: Outside/In&lt;/i&gt; (New Orleans: New Orleans Museum of Art, 2018)</image:caption>
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                    <image:loc>https://freight.cargo.site/t/original/i/I2275927847463342114614816116408/odoo_9783775759458_d3c83be4-3ab7-402d-bc40-e64114744287-Cropped.jpg</image:loc>
                                            <image:caption>“Shades of Blue - Alia Ali’s INDIGO: Vision and Opacity” in &lt;i&gt;ali ali . . . one of many&lt;/i&gt; (Hatje Cantz, 2025)</image:caption>
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                                            <image:caption>“Speaking Truth to Power” and “On Myth and Modernism” in &lt;i&gt;Gavin Jantjes: To Be Free! &lt;/i&gt;(Skira Editore, 2025)</image:caption>
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                        <loc>https://allisonkyoung.com/2025-to-be-free</loc>
            
            
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                                            <image:caption>Review: “Willie Birch: Up on the Roof” at Fort Gansevoort, New York for the Brooklyn Rail (October 2025 Print Issue)</image:caption>
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                                            <image:caption>Review: “Prospect.6: What is an Exhibition’s Duty to its Locality?” for Art Review (February 2025 Print Issue)</image:caption>
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                                            <image:caption>Review: “Dak’art Biennale 2022” for Artforum (September 2022 Print Issue)</image:caption>
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                                            <image:caption>Review: “Perspectives: Michael Joo” at the Freer Sackler Gallery, Washington, DC for Apollo International (July 13, 2016)&lt;br /&gt;
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                                            <image:caption>Review: “El Anatsui” at Jack Shainman - The School, Kinderhoek, NY for Artforum Critic’s Picks (June 22, 2015)</image:caption>
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                                            <image:caption>Review: “Kim Gordon: Design Office” at Benaki Museum, Athens for Artforum Critic’s Picks (July 15, 2015)</image:caption>
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                                            <image:caption>Review: “Karin Schneide: Situational Diagram” at Dominique Lévy, New York for Wallpaper* (September 15, 2016)</image:caption>
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                                            <image:caption>Review: “Fair Exchange: Allison Young around the third edition of 1:54 Contemporary African Art Fair, New York” for Artforum Diary (May 5, 2017)</image:caption>
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                                            <image:caption>Review: “Indigo Waves and Other Stories” at Zeitz MoCAA, Cape Town, ZA for Artforum (November 2022 Print Issue)</image:caption>
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                                            <image:caption>Review: “Ana Hernandez and Jeremy Toussaint-Baptiste” at Other Plans, New Orleans for Art Review (March 2024 Print Issue)</image:caption>
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                                            <image:caption>Review: ““Images of Struggle and Resilience: Ernest Cole at the Grey” for IFA Contemporary (September 14, 2014)</image:caption>
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                                            <image:caption>Review: “Inventing Downtown: Artist-Run Galleries in New York City, 1952-1965” at the Grey Art Gallery, New York for Apollo International (March 2017 Print Issue)</image:caption>
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                                            <image:caption>Review: “Marcel Dzama” at David Zwirner, New York for Artforum Critic’s Picks (May 8, 2020)</image:caption>
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                                            <image:caption>Review: “Cristina Molina: Tell it to the River” at Other Plans, New Orleans for Burnaway (March 14, 2025)</image:caption>
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                                            <image:caption>Review: ““On Ways of Traveling: Urbanism and Renewal in the Angolan Pavilion at the 56th Venice Biennale” for Africanah.org (May 7, 2015)</image:caption>
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                                            <image:caption>Review: “Bosco Sodi” at Blain | Southern, London for Artforum Critic’s Picks (May 9, 2016)</image:caption>
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                                            <image:caption>Review: “With Hidden Noise” at Wave Hill, Bronx, NY for Artforum Critic’s Picks (June 27, 2014)</image:caption>
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                                            <image:caption>Review: “&amp;#x22;Kai Althoff reveals the pain and the privilege of being an artist&amp;#x22; for Apollo International (October 19, 2016)&lt;br /&gt;</image:caption>
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                                            <image:caption>Interview: “Plasticane: In Conversation with Hannah Chalew” for Burnaway (April 25, 2022)</image:caption>
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                                            <image:caption>Essay: “A Poisonous Miracle: On Art and Labor, from the Congo River to the River Tees” for Africanah.org (July 6, 2016)</image:caption>
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                                            <image:caption>Review: “Wangechi Mutu: Nguva na Nyoka” at Victoria Miro Gallery, London for Artforum Critic’s Picks (November 14, 2014)</image:caption>
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                <image:image>
                    <image:loc>https://freight.cargo.site/t/original/i/B2272396020598227400060914732728/Issue8_1-Cropped.png</image:loc>
                                            <image:caption>Roundtable: “Roundtable Discussion on the New Whitney” for Shift 8 (2015)</image:caption>
                                    </image:image>
            
                
                <image:image>
                    <image:loc>https://freight.cargo.site/t/original/i/S2272396020376866471176400113336/article00_1064x-2-Cropped.jpg</image:loc>
                                            <image:caption>Review: “Samson Kambalu: New Liberia” at Modern Art Oxford, UK for Artforum (November 2021 Print Issue)</image:caption>
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                <image:image>
                    <image:loc>https://freight.cargo.site/t/original/i/X2272396020266186006734142803640/Aikaterini-Gegisian-A-Small-Guide-to-the-Invisible-Seas-The-Sea-of-Passions-2-2015-collage-on-Cropped.jpg</image:loc>
                                            <image:caption>Essay: “Aikaterini Gegisian: A Small Guide to the Invisible Seas” for the Photoworks Annual 25 (2019): A New Europe</image:caption>
                                    </image:image>
            
                
                <image:image>
                    <image:loc>https://freight.cargo.site/t/original/i/G2272396020247739262660433252024/2017-360-Stockholder-Install-Cropped.jpg</image:loc>
                                            <image:caption>Review: “Jessica Stockholder” at Mitchell-Innes &amp;#x26; Nash, New York for Wallpaper* (August 31, 2016)</image:caption>
                                    </image:image>
            
                
                <image:image>
                    <image:loc>https://freight.cargo.site/t/original/i/W2272396020893375305240267558584/Screen-Shot-2022-11-02-at-9.09.58-AM-Cropped.png</image:loc>
                                            <image:caption>Interview: “A Long, Hard Look at Ryan Gander: An Interview with the Artist” for Apollo International (September 27, 2016)</image:caption>
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                <image:image>
                    <image:loc>https://freight.cargo.site/t/original/i/I2272396020856481817092848455352/Screen-Shot-2019-02-26-at-6.41.40-PM-Cropped.png</image:loc>
                                            <image:caption>Review: “Faith47: Aqua Regalia – Chapter II” at
Jonathan LeVine Gallery, New York for Art Africa Magazine (March 2016 Print Issue)</image:caption>
                                    </image:image>
            
                
                <image:image>
                    <image:loc>https://freight.cargo.site/t/original/i/U2272396020395313215250109664952/article00_1064x-3-Cropped.jpg</image:loc>
                                            <image:caption>Review: “Joe Tilson: Alchera” at Marlborough Gallery, London, UK for Artforum (October 2021 Print Issue)</image:caption>
                                    </image:image>
            
                
                <image:image>
                    <image:loc>https://freight.cargo.site/t/original/i/U2272396020173952286365595045560/8e8_img_2562-Cropped.jpg</image:loc>
                                            <image:caption>Review: “World of Zulu reveals ties between New Orleans, South Africa” for Pelican Bomb and Nola.com (January 17, 2018)</image:caption>
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                <image:image>
                    <image:loc>https://freight.cargo.site/t/original/i/Z2272396020210845774513014148792/23b0e0a98340294bffce2190272bc84a267faf7e-Cropped.jpg</image:loc>
                                            <image:caption>Review: “Gabriel de la Mora” at The Drawing Center, New York for Wallpaper* (July 26, 2016)</image:caption>
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                <image:image>
                    <image:loc>https://freight.cargo.site/t/original/i/W2272396020911822049313977110200/Untitled-Prologue-II-SMALL-FOR-LISTINGS-SITES-2-1-Cropped.jpg</image:loc>
                                            <image:caption>Review: “Dawit L. Petros: The Stranger’s Notebook” at Tiwani Contemporary, London for Artforum Critic’s Picks (June 13, 2016)</image:caption>
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                <image:image>
                    <image:loc>https://freight.cargo.site/t/original/i/V2272396020469100191544947871416/dbJx2vAFuNm5iAl4xMmyVg_Godfried_Donkor-_Rebel_Madonna_Lace_Collection_2016-_Installation_shot_from_EVA_International__Irelands_Biennial-_2016-_photo_Miriam_OConnor-_courtesy_the_artist_and_EVA-Cropped.jpg</image:loc>
                                            <image:caption>Review: “On Migration and Materiality in Ireland’s Post-Colonial Biennial: Koyo Kouoh curates ‘Still the Barbarians’ - the 2016 EVA International” for Art Africa (June 2016 Print Issue)</image:caption>
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                <image:image>
                    <image:loc>https://freight.cargo.site/t/original/i/E2272396020524440423766076526264/featured00_810x-Cropped.jpg</image:loc>
                                            <image:caption>Review: “Gaku Tsutaja” at Ulterior Gallery, New York for Artforum Critic’s Picks (July 22, 2020)</image:caption>
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                <image:image>
                    <image:loc>https://freight.cargo.site/t/original/i/T2272396020874928561166558006968/Screen-Shot-2019-02-27-at-7.23.56-AM-Cropped.png</image:loc>
                                            <image:caption>Review: “David Medalla: A Stitch in Time” at Venus Over Manhattan, New York for Wallpaper* (July 26, 2016)</image:caption>
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                <image:image>
                    <image:loc>https://freight.cargo.site/t/original/i/N2272396020672014376355752939192/picksimg_430x-Cropped.jpg</image:loc>
                                            <image:caption>Review: “Pieter Hugo at Yossi Milo Gallery, New York” for Artforum Critic’s Picks (February 17, 2017)</image:caption>
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                <image:image>
                    <image:loc>https://freight.cargo.site/t/original/i/R2272396020229292518586723700408/84-Cropped.jpg</image:loc>
                                            <image:caption>Review: “The Whitney Biennial - In Counterpoint” for Apollo International (April 12, 2017)</image:caption>
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                <image:image>
                    <image:loc>https://freight.cargo.site/t/original/i/M2272396020505993679692366974648/farxiyo-jaamac-Android-Girl-2017-Cropped.jpg</image:loc>
                                            <image:caption>Review: “Utopian Imagination” at the Ford Foundation Gallery, New York for Artforum (December 2019 Print Issue)</image:caption>
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                <image:image>
                    <image:loc>https://freight.cargo.site/t/original/i/W2272396020930268793387686661816/v0_master-Cropped.jpg</image:loc>
                                            <image:caption>Review: “The Poetics of Nature, the Politics of Junk: Sokari Douglas Camp at October Gallery, London” for Africanah.org (August 5, 2016)</image:caption>
                                    </image:image>
            
                
                <image:image>
                    <image:loc>https://freight.cargo.site/t/original/i/W2272396020782694840798010248888/picksimg_large-1-1-Cropped.jpg</image:loc>
                                            <image:caption>Review: “Dinh Q. Lê” at PPOW Gallery, New York for Artforum Critic’s Picks (May 19, 2014)</image:caption>
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                <image:image>
                    <image:loc>https://freight.cargo.site/t/original/i/I2272396020358419727102690561720/article00_1064x-1-1-Cropped.jpg</image:loc>
                                            <image:caption>Interview: “Susan Hiller: Paraconceptual” at Lisson Gallery, New York for Artforum 500 Words (April 28, 2017)</image:caption>
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                <image:image>
                    <image:loc>https://freight.cargo.site/t/original/i/X2272402929881560440194601160376/61eb81473ff2d9c640260e686560003ec07074d1_screen-shot-2017-11-04-at-3.46.38-pm-Cropped.jpg</image:loc>
                                            <image:caption>Interview: “Picturing Power: Allison K. Young in conversation with Bradley McCallum” for Art Africa (June 2016 Print Issue)</image:caption>
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                <image:image>
                    <image:loc>https://freight.cargo.site/t/original/i/C2274478546346007330274445201080/PEREZ-ART-MUSEUM-MIAMI-EXHIBE-MELEKO-MOKGOSI-TU-VIAJE-A-AFRICA_full-Cropped.jpg</image:loc>
                                            <image:caption>Review: “Meleko Mokgosi: Democratic Intuition” at Jack Shainman, New York for Artforum Critic’s Picks (September 16, 2016)</image:caption>
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                <image:image>
                    <image:loc>https://freight.cargo.site/t/original/i/V2275178849296202858763509665464/DANSUER-MERINGUE-1964_1-Cropped.jpg</image:loc>
                                            <image:caption>Review: “Malick Sidibé” at Jack Shainman, New York for Artforum Critic’s Picks (April 19, 2014)</image:caption>
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                <image:image>
                    <image:loc>https://freight.cargo.site/t/original/i/Q2366401975987846130677968899768/Hangman_2007_TIF_KB-copy-Cropped.jpg</image:loc>
                                            <image:caption>Review: “Amy Sherald’s American Sublime: Ashes to Ashes” for Art Review (May 2025 Print Issue)</image:caption>
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                <image:image>
                    <image:loc>https://freight.cargo.site/t/original/i/P2389993679388848101178563727032/Screenshot-2025-06-05-at-8.23.02AM-Cropped.png</image:loc>
                                            <image:caption>Review: “A Haunting: Jack Whitten’s Spectral Abstraction” for the Brooklyn Rail Critic’s Page (June 2025 Print Issue)</image:caption>
                                    </image:image>
            
                
                <image:image>
                    <image:loc>https://freight.cargo.site/t/original/i/R2554696522799159992004270722744/Screenshot-2025-09-16-at-5.32.21PM-Cropped.png</image:loc>
                                            <image:caption>Review: “Ron Bechet Renders Landscape Between the Veil” for Slip Art Magazine (September 16, 2025)</image:caption>
                                    </image:image>
            
                
                <image:image>
                    <image:loc>https://freight.cargo.site/t/original/i/Y2577257854090282302743424110264/684a0a020577eab4f4f5288c833bd3fc-Cropped.jpg</image:loc>
                                            <image:caption>Review: “Willie Birch: Up on the Roof” at Fort Gansevoort, New York for the Brooklyn Rail (October 2025 Print Issue)</image:caption>
                                    </image:image>
            
        </url>
            <url>
                        <loc>https://allisonkyoung.com/curatorial</loc>
            
            
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        </url>
            <url>
                        <loc>https://allisonkyoung.com/index</loc>
            
            
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                <image:image>
                    <image:loc>https://freight.cargo.site/t/original/i/P2267777347764801630221982863032/Screenshot-2025-03-20-at-3.59.40PM.png</image:loc>
                                            <image:caption>“Lina Iris Viktor: A Haven, A Hell, A Dream Deferred” at the New Orleans Museum of Art (2018)</image:caption>
                                    </image:image>
            
                
                <image:image>
                    <image:loc>https://freight.cargo.site/t/original/i/F2272350840316133236563229380280/Torkwase-painting--Cropped.png</image:loc>
                                            <image:caption>“Torkwase Dyson: Black Compositional Thought | 15 Paintings for the Plantationocene” at the New Orleans Museum of Art (2019)</image:caption>
                                    </image:image>
            
                
                <image:image>
                    <image:loc>https://freight.cargo.site/t/original/i/Z2272352523544636474412395237048/Lina-Iris-Viktor-Eleventh-cropped-1-Cropped.jpg</image:loc>
                                            <image:caption>“Lina Iris Viktor: A Haven, A Hell, A Dream Deferred” at the New Orleans Museum of Art (2018)</image:caption>
                                    </image:image>
            
                
                <image:image>
                    <image:loc>https://freight.cargo.site/t/original/i/F2272355535252307668602339823288/ameripost1-Cropped.png</image:loc>
                                            <image:caption>“Re-Tracing the Land” at New York Artist Residency &amp;#x26; Studios, Brooklyn, NY (2014)</image:caption>
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                <image:image>
                    <image:loc>https://freight.cargo.site/t/original/i/C2272355535270754412676049374904/d7hftxdivxxvm.cloudfront-Cropped.jpg</image:loc>
                                            <image:caption>“CHANNELS” at 2015 Articulture Biennial Arts Festival, Media, PA (2015)</image:caption>
                                    </image:image>
            
                
                <image:image>
                    <image:loc>https://freight.cargo.site/t/original/i/H2272355535178520692307501616824/5cdccd246a41e.image-Cropped.jpg</image:loc>
                                            <image:caption>“Changing Course: Reflections on New Orleans Histories” at the New Orleans Museum of Art (2018)</image:caption>
                                    </image:image>
            
                
                <image:image>
                    <image:loc>https://freight.cargo.site/t/original/i/G2272355535233860924528630271672/Adriana-Corral-1024x683-Cropped.jpg</image:loc>
                                            <image:caption>“Bodies of Knowledge” at the New Orleans Museum of Art (2019)</image:caption>
                                    </image:image>
            
        </url>
            <url>
                        <loc>https://allisonkyoung.com/lina-iris-viktor</loc>
            
            
            <lastmod>2026-01-04T13:00:21+00:00</lastmod>
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                <image:image>
                    <image:loc>https://freight.cargo.site/t/original/i/H2267777347709461398000854208184/Screenshot-2025-03-20-at-3.59.24PM.png</image:loc>
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                    <image:loc>https://freight.cargo.site/t/original/i/F2267777347727908142074563759800/Screenshot-2025-03-20-at-3.59.28PM.png</image:loc>
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                    <image:loc>https://freight.cargo.site/t/original/i/G2267777347746354886148273311416/Screenshot-2025-03-20-at-3.59.32PM.png</image:loc>
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                <image:image>
                    <image:loc>https://freight.cargo.site/t/original/i/P2267777347764801630221982863032/Screenshot-2025-03-20-at-3.59.40PM.png</image:loc>
                                    </image:image>
            
                
                <image:image>
                    <image:loc>https://freight.cargo.site/t/original/i/A2267794089863702232347643580088/GarrettBradleywidget.png</image:loc>
                                    </image:image>
            
        </url>
            <url>
                        <loc>https://allisonkyoung.com/torkwase-dyson</loc>
            
            
            <lastmod>2026-01-04T13:00:21+00:00</lastmod>
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                <image:image>
                    <image:loc>https://freight.cargo.site/t/original/i/Q1515376351823325515705315491841/horizontal.svg</image:loc>
                                            <image:caption>&lt;div style=&quot;text-align: right;&quot;&gt;&lt;div style=&quot;text-align: center;&quot;&gt;&lt;small&gt;Torkwase Dyson,&lt;i&gt; Up South 3 (Water Table) and Up South 4 (Water Table)&lt;/i&gt;, 2018, Acrylic on canvas, 60 in. diameter&lt;/small&gt;&lt;/div&gt;&lt;/div&gt;&lt;br /&gt;</image:caption>
                                    </image:image>
            
                
                <image:image>
                    <image:loc>https://freight.cargo.site/t/original/i/Q2267789444659949823029484293816/Plantationocene-1024x476.jpg</image:loc>
                                            <image:caption>&lt;div style=&quot;text-align: right;&quot;&gt;&lt;div style=&quot;text-align: center;&quot;&gt;&lt;small&gt;Torkwase Dyson,&lt;i&gt; Up South 3 (Water Table) and Up South 4 (Water Table)&lt;/i&gt;, 2018, Acrylic on canvas, 60 in. diameter&lt;/small&gt;&lt;/div&gt;&lt;/div&gt;&lt;br /&gt;</image:caption>
                                    </image:image>
            
        </url>
            <url>
                        <loc>https://allisonkyoung.com/bodies-of-knowledge</loc>
            
            
            <lastmod>2026-01-04T13:00:22+00:00</lastmod>
            <changefreq>always</changefreq>
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                <image:image>
                    <image:loc>https://freight.cargo.site/t/original/i/Q1515376351823325515705315491841/horizontal.svg</image:loc>
                                            <image:caption>Wilmer Wilson IV, &lt;i&gt;Black Mask&lt;/i&gt;, 2012, single-channel video, 5:56 minutes</image:caption>
                                    </image:image>
            
                
                <image:image>
                    <image:loc>https://freight.cargo.site/t/original/i/L2267793381453389569679732870840/Wafaa-Bilal-Library-1024x603.jpg</image:loc>
                                            <image:caption>Wafaa Bilal, &lt;i&gt;168:01&lt;/i&gt;, 2016-present, site-specific installation, image courtesy of the artist, photo: John Dean</image:caption>
                                    </image:image>
            
                
                <image:image>
                    <image:loc>https://freight.cargo.site/t/original/i/A2267793381416496081532313767608/Adriana-Corral-1024x683.jpg</image:loc>
                                            <image:caption>Adriana Corral, &lt;i&gt;Memento&lt;/i&gt;, 2013-present, site-specific installation, acetone, ash</image:caption>
                                    </image:image>
            
                
                <image:image>
                    <image:loc>https://freight.cargo.site/t/original/i/J2267793381471836313753442422456/Zhang-Huan-802x1024.jpg</image:loc>
                                            <image:caption>Zhang Huan, &lt;i&gt;Family Tree&lt;/i&gt;, 2001, chromogenic color prints on Fuji archival paper, 80 x 70 in.</image:caption>
                                    </image:image>
            
                
                <image:image>
                    <image:loc>https://freight.cargo.site/t/original/i/U2267793381434942825606023319224/BodiesofKnowledge.jpg</image:loc>
                                            <image:caption>Wilmer Wilson IV, &lt;i&gt;Black Mask&lt;/i&gt;, 2012, single-channel video, 5:56 minutes</image:caption>
                                    </image:image>
            
                
                <image:image>
                    <image:loc>https://freight.cargo.site/t/original/i/A2267794089863702232347643580088/GarrettBradleywidget.png</image:loc>
                                            <image:caption>Garrett Bradley, &lt;i&gt;America&lt;/i&gt; (film still), 2019, Multi-channel video installation, 35mm film transferred to video, black and white, sound,</image:caption>
                                    </image:image>
            
        </url>
            <url>
                        <loc>https://allisonkyoung.com/changing-course</loc>
            
            
            <lastmod>2026-01-04T13:00:22+00:00</lastmod>
            <changefreq>always</changefreq>
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                <image:image>
                    <image:loc>https://freight.cargo.site/t/original/i/Q1515376351823325515705315491841/horizontal.svg</image:loc>
                                            <image:caption>The Propeller Group, &lt;i&gt;The Living Need Light, the Dead Need Music&lt;/i&gt;, 2014, Single channel film, 3840 x 2160, 25fps, Color, 5.1. surround sound</image:caption>
                                    </image:image>
            
                
                <image:image>
                    <image:loc>https://freight.cargo.site/t/original/i/H2267820475901957825753179590328/kasimu.png</image:loc>
                                            <image:caption>L. Kasimu Harris, &lt;i&gt;War on the Benighted #1,&lt;/i&gt; 2015, Digital photography, 45 x 33 in.</image:caption>
                                    </image:image>
            
                
                <image:image>
                    <image:loc>https://freight.cargo.site/t/original/i/G2267820475920404569826889141944/propeller.png</image:loc>
                                            <image:caption>The Propeller Group, &lt;i&gt;The Living Need Light, the Dead Need Music&lt;/i&gt;, 2014, Single channel film, 3840 x 2160, 25fps, Color, 5.1. surround sound</image:caption>
                                    </image:image>
            
                
                <image:image>
                    <image:loc>https://freight.cargo.site/t/original/i/X2267820475938851313900598693560/willie-birch.png</image:loc>
                                            <image:caption>Willie Birch, &lt;i&gt;Waiting for a Serious Conversation on the History of the South&lt;/i&gt;, 2017, Acrylic and charcoal on paper, 72 x 75 in.</image:caption>
                                    </image:image>
            
        </url>
            <url>
                        <loc>https://allisonkyoung.com/channels</loc>
            
            
            <lastmod>2026-01-04T13:00:22+00:00</lastmod>
            <changefreq>always</changefreq>
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                <image:image>
                    <image:loc>https://freight.cargo.site/t/original/i/A2267794089863702232347643580088/GarrettBradleywidget.png</image:loc>
                                            <image:caption>Mariangeles Soto-Diaz, &lt;i&gt;Abstract Numbers of a Revolution&lt;/i&gt;, 2012, acrylic on wood, dimensions variable</image:caption>
                                    </image:image>
            
                
                <image:image>
                    <image:loc>https://freight.cargo.site/t/original/i/V2267835021048979481292371496632/70.75x47.25_2014.jpeg</image:loc>
                                            <image:caption>Dinh Q. Lê, &lt;i&gt;Ezekiel&amp;#x27;s Whisper&lt;/i&gt;, 2014</image:caption>
                                    </image:image>
            
                
                <image:image>
                    <image:loc>https://freight.cargo.site/t/original/i/H2267835021012085993144952393400/10.SotoDiaz.jpg</image:loc>
                                            <image:caption>Mariangeles Soto-Diaz, &lt;i&gt;Abstract Numbers of a Revolution&lt;/i&gt;, 2012, acrylic on wood, dimensions variable</image:caption>
                                    </image:image>
            
                
                <image:image>
                    <image:loc>https://freight.cargo.site/t/original/i/C2267835021067426225366081048248/book1_670.jpg</image:loc>
                                            <image:caption>Foundland Collective, &lt;i&gt;Simba, the Last Price of the Ba&amp;#x27;ath Country&lt;/i&gt;, 2014, artist’s book</image:caption>
                                    </image:image>
            
                
                <image:image>
                    <image:loc>https://freight.cargo.site/t/original/i/U2267848184331955831175342296760/IMG_7806.JPG</image:loc>
                                    </image:image>
            
                
                <image:image>
                    <image:loc>https://freight.cargo.site/t/original/i/T2267848184239722110806794538680/IMG_7801.JPG</image:loc>
                                    </image:image>
            
                
                <image:image>
                    <image:loc>https://freight.cargo.site/t/original/i/D2267848184221275366733084987064/IMG_7800.JPG</image:loc>
                                    </image:image>
            
                
                <image:image>
                    <image:loc>https://freight.cargo.site/t/original/i/S2267848184165935134511956332216/IMG_7799.JPG</image:loc>
                                    </image:image>
            
                
                <image:image>
                    <image:loc>https://freight.cargo.site/t/original/i/F2267848184295062343027923193528/IMG_7804.JPG</image:loc>
                                    </image:image>
            
                
                <image:image>
                    <image:loc>https://freight.cargo.site/t/original/i/H2267848184276615598954213641912/IMG_7803.JPG</image:loc>
                                    </image:image>
            
        </url>
            <url>
                        <loc>https://allisonkyoung.com/re-tracing-the-land</loc>
            
            
            <lastmod>2026-01-04T13:00:22+00:00</lastmod>
            <changefreq>always</changefreq>
            <priority>0.5</priority>


            
                
                <image:image>
                    <image:loc>https://freight.cargo.site/t/original/i/A2267794089863702232347643580088/GarrettBradleywidget.png</image:loc>
                                            <image:caption>Jared Thorne, &lt;i&gt;Reflections/Refractions&lt;/i&gt;, 2013</image:caption>
                                    </image:image>
            
                
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                                            <image:caption>Stephanie Dinkins, &lt;i&gt;Americana&lt;/i&gt;, 2013, book pages and video projection</image:caption>
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                                            <image:caption>Jared Thorne, &lt;i&gt;Reflections/Refractions&lt;/i&gt;, 2013</image:caption>
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                                            <image:caption>Aikaterini Gegisian, &lt;i&gt;A Little Bit too Much, A Little Bit too Late&lt;/i&gt;, mixed media collage</image:caption>
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                                            <image:caption>Curator Talk</image:caption>
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                                            <image:caption>Richard Hamilton, &lt;i&gt;Just What Is It.&lt;/i&gt;..</image:caption>
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                                            <image:caption>Emily Kame Kngwarreye, &lt;i&gt;Earth’s Creation&lt;/i&gt;</image:caption>
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                                            <image:caption>Shirin Neshat, &lt;i&gt;Women of Allah&lt;/i&gt;</image:caption>
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                                            <image:caption>Ibrahim El Salahi, &lt;i&gt;Reborn Sounds of Childhood Dreams&lt;/i&gt;</image:caption>
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                                            <image:caption>Popular, Transient, Expendable: Print Culture and Propaganda</image:caption>
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                                            <image:caption>Chris Ofili, &lt;i&gt;Holy Virgin Mary&lt;/i&gt;</image:caption>
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                                            <image:caption>Yinka Shonibare MBE, &lt;i&gt;The Swing (After Fragonard)&lt;/i&gt;</image:caption>
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                                            <image:caption>El Anatsui, &lt;i&gt;Old Man’s Cloth&lt;/i&gt;</image:caption>
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                                            <image:caption>Art Into Life: Anti-Modernist Gestures</image:caption>
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                                            <image:caption>Re-Mapping Land Art: Earthworks, Borderlands, Ecology</image:caption>
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