Back in the 1960s, some of us were taking drugs, scrambling genders, and sampling global religions to shake ourselves loose from what we saw as Western-style binary thinking, a view of the world based on strictly held good-bad, right-wrong opposites: white versus Black, straight versus gay, us versus them. Five decades later, such thinking still rules in a red-blue nation, which makes the retrospective of Lorraine O’Grady’s career at the Brooklyn Museum a major corrective event.