Curating the newly reinstalled Arts of Africa gallery at the Denver Art Museum—on view to the public for the first time since 2016—Adekunle Adeniji wanted to bring the spirit of Africa to life inside the Colorado-based institution. His goal is to present African art as a “living, dynamic, and relevant process, deeply interwoven with societal practices and values,” he tells EBONY. “It’s how art embodies individual and communal identities, power dynamics and transformational experiences, serving as an adornment of ordinary living and an expressive language that narrates the intricate tapestry of African life.”


And what a job Adeniji, who received the Anderman Family Fellow for African Art to bring together the installation, and his team has done. The small but mighty space showcases approximately 800 objects from the continent, which includes paintings, sculptures and personal objects, like wooden combs, from the past two centuries.
Anchoring itself around three themes: self, power and transformation, and manifestation, the collection “unveils the richness and diversity of African aesthetics and elicits a deeper appreciation of Africa’s profound influence on the art world,” Adeniji shares. “I hope to illuminate the past while shaping a compelling narrative for the present that extends beyond Africa’s physical boundaries and invites visitors to explore the vast landscape of African artistic creativity and cultural heritage.”


That sentiment is seen in DAM’s large-scale work Rain Has No Father by El Anatusi. The Ghanaian artist created the piece using found objects like metal bottle caps. “Anatsui creates sculptures that serve as a powerful commentary on colonialism, consumerism and the environment,” Adeniji says. “This piece serves as a testimony to the transcultural nature of contemporary African art, a narrative of a society’s complex relationship with material consumption and a tribute to African ingenuity. Anatsui’s work metaphorically represents the resilience and adaptability of African creativity, culture and spirit, reflecting the transformative nature of African art.”
The renovated gallery is part of a bigger refresh across several areas in the museum, including its contemporary art collection that features works of renowned Black artists like Kerry James Marshall and Denver native Jordan Casteel.
Here are four more must-see pieces by Black and African artists now on display at the Denver Art Museum.
Sylvia’s (Taniedra, Kendra, Dedelia, Crizette, De’Sean), Jordan Casteel


Working from a photograph, Denver native Jordan Casteel immortalizes the descendants of famed restaurateur, Sylvia Woods, in their family-owned establishment in Harlem, New York. Casteel aims to create a mesmerizing gaze between the subject, artist and the viewers. “My goal is to capture something that’s only felt when thoughtfully engaging with someone,” she shares with DAM.
Better Homes, Better Gardens, Kerry James Marshall


Part of a series of paintings that Marshall titled the “Garden Project,” it portrays a scene that suggest the complexity of life in low-income housing projects. “What I wanted to show in those paintings is that whatever you think about the projects, they’re that and more,” he shared with DAM. “If you think they’re full of hopelessness and despair, you’re wrong. There are actually a lot of opportunities to experience pleasure in the projects.”
Aboki, Cornelius Annor


Ghanaian artist Cornelius Annor draws upon family photographs and uses fabrics sourced from his wife, mother and aunts to create intimate portraits of everyday life in his native Ghana. This piece, acquired by the museum in 2022, is based on a photograph of two childhood friends in 1967. Annor uses rust-colored hues to recall the sepia tones of antique photographs and the passage of time.
Realness, Mark Bradford


Mark Bradford’s wall-sized collage is made from found objects and home good items. The intricate patterning of swirls across the canvas are in response to impromptu networks—underground economies, marginalized communities and abandoned urban buildings. It’s represents the social unrest of the world, which Bradford explores through his abstract paintings.
























































