The Brooklyn Rail, 2022. Forecast Form — Gervais Marsh’s review of “Forecast Form: Art in the Caribbean Diaspora 1990s to Today” examines the metaphorical and literal fluidity of Black and Indigenous Caribbean diasporas. O’Grady’s The Fir-Palm and The Strange Taxi are highlighted as reminders of O’Grady’s Jamaican lineage.
The Kitchen, 2022. In 2022 Lorraine O’Grady was The Kitchen’s gala honoree. Alex Jacquet’s article surveys O’Grady’s work and situates it in dialogue with multi-disciplinary artist, Simone Leigh, who has cited O’Grady as a critical influence. Both O’Grady and Leigh, confront a “historic script” to re-contextualize subjectivity of Black women.
Alexis Jacquet and Angelique Rosales Salgado, “Lorraine O’Grady and Simone Leigh”— A view of the work of Lorraine O’Grady, The Kitchen’s 2022 gala honoree, in conversation with multi-disciplinary artist, Simone Leigh who has cited O’Grady as a critical influence. Both O’Grady and Leigh, confront a “historic script” to re-contextualize subjectivity of Black women.
Siddhartha Mitter interviews Simone Leigh on Sovereignty, her installation for the U.S. Pavillion at the Venice Biennale. Leigh’s mentor, O’Grady, expresses enthusiasm for the symposium Loophole of Retreat that will accompany the show in October 2022.
Tom Patterson forms a based chronology of O'Grady's diverse range of careers. He notes her positions as an intelligence analyst for the federal government and a freelance writer for Rolling Stone, all of which she held before she was 40 years old. He studies her persona “Mlle Bourgeoise Noire” in her pivot to start an art practice in the latter half of her life.
Loring Knoblauch considers Body Is The Ground of My Experience (1991/2019) as a “reprise” of O’Grady’s retrospective Both/And, exhibited the year prior. She suggests that the show is vital to understanding O’Grady’s late photographic prints.
Ela Bittencourt delivers polished prose after visiting Body Is The Ground of My Experience on view at Alexander Gray Associates in 2022. Notably, she praises O’Grady’s hybrid mode of making critique into a pleasurable venture.
Curator and critic Jacopo Crivelli Visconti names Miscegenated Family Album, on view at Frieze New York in 2022, as “nothing less than one of the masterpieces of the 20th Century.”
O’Grady receives a mention amongst artists Allan Sekula, Frederico Morais, Park Chan-Kyong, and Marcel Broodthaers. All artists, Heddaya contends, maintain a “writerly” approach that he likens to the art historical impulse to compare and contrast two forms alongside each other in a diptych format.