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Over the course of more than 40 years, Lorraine O’Grady has worked across mediums to create conceptual projects that interrogate issues of identity, class, gender, and social structure. "Art Is . . ." was inspired by a remark made by one of O’Grady’s acquaintances that avant-garde art doesn’t have anything to do with Black people. Struck by this statement of profound exclusion, O’Grady responded by creating an avant-garde work at one of the largest gatherings of the Black community in New York—the African American Day Parade that takes place each year in Harlem. For the 1983 parade, O’Grady created a float topped with a massive gilt frame that captured everything as it passed by—turning the everyday into art. O’Grady and 15 collaborators dressed in white engaged the crowd with smaller frames, allowing parade-goers to stand in the frames and in this way become avant-garde art themselves. The documentary images taken by bystanders at the performance, collected by O’Grady and on view here, capture the joyful, spontaneous tone of this participatory work, while suggesting the sociopolitical importance of art and inclusion. Lorraine O’Grady. "Art Is. . .," 1983/2009. 40 chromogenic prints. 16 x 20 inches each. Collection Pérez Art Museum Miami, museum purchase with funds provided by Jorge M. Pérez, the John S. and James L. Knight Foundation, and the PAMM Ambassadors for African American Art.