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Harper’s Bazaar, 2024

The Audacity of Lorraine O’Grady—In this profile of O’Grady, Soraya Nadia McDonald offers careful consideration of the artist whose belated welcome into many institutions has set her a part as a forward-thinking rebel in the art world. Often cited as a major influence among fellow Black women artists, much of the world has finally caught up to O’Grady.

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Simplebooklet.com, 2024

In her introduction for “Teaching/Learning with Lorraine O’Grady’s Both/And,” Amanda Gilvin offers a unique vantage point for viewing the renowned artist’s multi-decade career. While many have described O’Grady as becoming an artist later in life, Gilvin highlights the links between Wellesley College and the development of O’Grady’s groundbreaking concept of “both/and” over time, revealing that perhaps it was while at the college, her artistry first began to take form.

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Boston Globe, 2024

Boston Globe, 2024. Murray Whyte reviews O’Grady’s “Both/And” at the Davis Museum at Wellesley College. Whyte notes the multifaceted nature of O’grady with a life that includes a stint at the US Department of Labor, writing rock criticism, and teaching. All of these positions converged into her art making process, beginning with the performance “Rivers, First Draft.”

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Forbes, 2024

Forbes, 2024. Chad Scott reports on O’Grady’s “Both/And” exhibit at the Davis Museum of Wellesley College. As an alum of Wellesely, O’Grady’s exhibit and accompanying archival materials offers a unique experience for students to learn about the journey of a former student forging their own path in the art world.

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Patch Wellesley, MA, 2024

Patch, 2024. Jainie Winter reports on O’Grady’s “Both/And” solo exhibit, showing at the Davis Museum at Wellesley College. In the article Winter provides an overview of O’Grady’s work and the themes she often explores such as “calls for an anti-hierarchical approach to difference.”

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Boston Globe, 2024

Boston Globe, 2024. Ahead of the showing of “Both/And” at the Davis Museum at Wellesley College, Murray Whyte provides a comprehensive background on O’Grady beginning as one the few Black graduates of Wellesley College in 1955. Whyte offers an overview of some of O’Grady’s most renowned works that are included in the exhibit such as “Mlle. Bourgeoise Noire,” “Rivers, First Draft,” and “Cutting Out The New York Times”

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Wellesley Magazine, 2024

Wellesley Magazine, 2024. Kerry Gaertner Gerbracht offers an insightful look into O’Grady’s prolific career as a writer, teacher, and artist in this article covering the opening of “Both/And” at the Davis Museum. Gerbracht notes the expansion of the exhibit from its original showing which includes pieces directly related to her time at Wellesley College as a student.

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The Wellesley News, 2024

The Wellesley News, 2024. The reopening of Davis Museum at Wellesley College began with the opening of O’Grady’s “Both/And” retrospective exhibit. In this review of opening night, Phoebe Rebhorn pays special attention to the inspiration that alum O’Grady can serve for current Wellesley students. An accompanying symposium, gave insight on the lessons of O’Grady’s art which calls for a consistent pushing of new boundaries and encourages limitless thinking.

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The Bay State Banner, 2024

The Bay State Banner, 2024. Susan Saccocia reviews O’Grady’s “Both/And” at the Davis Museum at O’Grady’s alma mater, Wellesley College. Saccocia describes several of O’Grady’s most prominent works on display in the exhibit and highlights how the show weaves the narrative of O’Grady’s lustrous and expansive career.

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WBUR, 2024

WBUR, 2024. Arielle Gray explores the works featured in O’Grady’s “Both/And” exhibit as well as O’Grady’s own writing and words, Arielle Gray. While some may view some of O’Grady’s life as a journey to become an artist, Gray highlights how she always was one. Synthesizing O’Grady’s impact on the art world and her own view of her body of work, Gray finds that it’s not only a critique of or disruption O’Grady seeks, but she crafts a world that shows “all of her multiplicity and nuance.”

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American Folk Art Museum, 2023

American Folk Art Museum, 2023. In 2023, the American Folk Art Museum launched a virtual program inspired by O’Grady’s concept of “both/and” to “examine the Museum’s collection beyond binary ideas of [art].”

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FF2 Media, 2023

FF2 Media, 2023. Artist Lorraine O’Grady’s Both/And Philosophy Rings True — In her article commemorating the two-year anniversary of O’Grady’s “Both/And” exhibition at the Brooklyn Museum, Julia Lasker reflects on the critical philosophy that underpins many of O’Grady’s works: both/and. Since the debut of Mlle Bourgeoise Noire, O’Grady has sought to combat the exclusionary nature of the mainstream art world which, as Lasker writes, “categorize identities…into an ‘either/or’ binary.”

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The Strategist, 2023

The Strategist, 2023/ 22 Best Black Coffee-Table Books — Tembe Denton-Hurst provides a comprehensive list of coffee-table books from Black artists and writers. The list includes Both/And, the accompanying catalogue to O’Grady’s retrospective at the Brooklyn Museum. O’Grady is also noted as an icon in “The Soul of a Nation Reader,” featured on the list.

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The New Yorker, 2022

Lorraine O’Grady Has Always Been A Rebel—In this conversation for The New Yorker, Doreen St. Felix and O’Grady discuss the artist’s nonconformist attitudes which she cultivated in childhood, rebelling from a middle class, Black immigrant family. This spirit of rebellion foregrounded O’Grady’s interest in the avant-garde and her penchant for conceptualism.

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Aware, 2022

For Aware’s index of worm artists, Stephanie Sparling Williams writes on O’Grady’s unique path to becoming an artist from US intelligence analyst, teacher, translator, and critic to avant-garde performances and photo installations.

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New York Times, 2022

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.

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Winston-Salem Journal, 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.

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Hyperallergic, 2022

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.

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The New York Times Style Magazine, 2021

Both Sides Now: In Conversation With Lorraine O’Grady—In an interview with Kate Guadagnino, O’grady discusses a typical day in her life as a working artist and her current interests.

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Collector Daily, 2021

Lorraine O’Grady: Both/And @Brooklyn Museum—Loring Knoblauch provides a comprehensive review of O’Grady’s Both/And retrospective offering a detailed listing of the artworks displayed, and the mapping of the show. Looking closely at each component presented at the Brooklyn Museum, Knoblauch finds that what emerges is the importance of conceptualism and idea-driven practices to O’Grady’s work.

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Artforum, 2021

Risk Everything—Ahead of the “Both/And” retrospective at the Brooklyn Museum, Catherinne Damman writes an insightful essay on the varied art and career of O’Grady. Of her many practices, Damman sees “risk as [O’Grady’s] primary medium,” foregoing easy stratifications in favor of deep inquiry and interrogation of the structures that bind.

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Artbook, 2021

Artbook’s listing for “Lorraine O’Grady: Both/And”, the accompanying book to O’Grady’s retrospective at the Brooklyn Museum in 2021. The book surveys O’Grady’s work spanning over four decades of her major works and showcases, “Announcement”, her new persona and performance piece.

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The New Yorker, 2021

The New Yorker’s “This Week” section announces O’Grady’s solo retrospective, “Both/And,” set to open the Brooklyn Museum the following week.

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The Philadelphia Tribune, 2021

In a review of the retrospective Both/And, Siddhartha Mitter sings the praises of O’Grady’s deft political critique. Having developed a rapport with the artist through his repeated reviews of her work, he quotes the artist in conversation: “I am making incisions on the skin of culture” […] “it is work I’ll be doing for the rest of my life.”

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Hyperallergic, 2021

In a review of Lorraine O’Grady’s solo exhibition “Both/And,” Hyperallergic’s Alexandra M. Thomas discusses the politics asserted by the artist within the museum. Thomas writes, ““Both/And” thinking posits a refusal of either/or framework that is endemic to the West. In disavowing [Western] binaristic thinking, we can instead dwell on the nuance of the world’s disarray and uncertainty.”

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Ithaca Times, 2021

G.M. Burns reviews Stephanie Sparling Williams’ new book, Speaking Out of Turn: Lorraine O’Grady and the Art of Language, which he marks as crucial in contextualizing O’Grady’s artistry. The article also includes an interview with Dr. Williams that explores her interest in engaging the artist’s work.

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Observer, 2021

Anni Irish offers an overview of O’Grady’s art practice in consideration of her retrospective, Both/And, focusing on key conceptual stakes, such as the artist’s interest in language as form.

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New York Vulture, 2021

Jillian Steinhauer reviews O'Grady's retrospective exhibition “Both/And” at the Brooklyn Museum. The article highlights O'Grady's pioneering work in performance art and her exploration of race, gender, and identity in her practice. Steinhauer describes O'Grady's personal history, including her West Indian heritage, her education, and her career as a writer before she turned to art, another aspect of her life that significantly informs her art practice.

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New York Times, 2021

Lorraine O’Grady, Still Cutting Into the Culture—Forty years after O’Grady debuted Mlle Bourgeoise Noire, declaring that Black art to take more risks, O’Grady receives her first retrospective at the Brooklyn Museum which features the launch of a new persona. In this profile, Siddhartha Mitter showcases how O’Grady has continuously pursued new ventures, pushing culture forward in her quests of discovery.

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Catherine Damman, Mira Dayal, and David Velasco, Artforum, 2021

Upon the opening of O’Grady’s retrospective Both/And, Artforum devotes much of its March 2021 issue to her prolific art practice. Catherine Damman provides a decades-long overview of her career, Mira Dayal focuses on Miscegenated Family Album, and David Fiasco interviews the artist on new works in progress.

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Art in America, 2021

Christina Sharpe writes a crucial essay upon the publishing of Lorraine O’Grady’s collected writings and interviews, entitled Writing in Space, suggesting that the artist’s “fierce intelligence, wit and humor, curiosity, anger” is the grist for social revolution.

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Vogue, 2021

After a visit to O’Grady’s retrospective Both/And, Cassidy George commends the artist’s life’s work: to demand art institutions to prioritize inclusion.

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Holland Cotter, New York Times, 2021

Holland Cotter, a chronic reviewer of O’Grady’s work, calls attention to the exhibition design of her retrospective, Both/And. She remarks on how the artist’s pervasive installation, which weaves throughout the museum, encourages viewers to reconsider the institution’s permanent collection through a critical lens.

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Boston Globe, 2021

In light of O’Grady’s retrospective at the Brooklyn Museum, Murray Whyte argues for the artist’s embrace of cultural hybridity through an in-depth analysis of her art practice. Specifically, she considers how O’Grady’s insistence to be “both/and” – to contain multiple backgrounds at the same time, refusing a singular identity – could usher in the next generation of interdisciplinary, multicultural artists.

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Jack Bankowsky, Artforum, 2021

O’Grady’s retrospective at the Brooklyn Museum, Both/And, receives a sincere note of respect on Jack Bankowsky’s top ten exhibitions seen in 2021.

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Lynne Cooke, Artforum, 2021

In a one-paragraph review of Both/And, Lynne Cooke includes O’Grady’s retrospective in her highlights of 2021, noting the artist’s “fiercely intelligent, subversive” defiance of race-based exclusion in the New York art world and Second-wave feminist movement.

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Holland Cotter and Roberta Smith, New York Times, 2021

O’Grady’s retrospective Both/And (and her publication Writing in Space) receive an honorable mention in Holland Cotter and Roberta Smith’s roundup of 2021’s most notable art exhibitions.

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Hyperallergic, 2020

Alexandra M. Thomas affirms the range of O’Grady’s literature upon the release of her collected essays and interviews entitled Writing in Space, making clear the wisdom in her scholarship, much of which was written before she was (recognized as) a practicing artist.

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Harvard Cazette, 2015

Susan Saccoccia reviews Lorraine O’Grady’s first solo exhibition at the Carpenter Center, entitled “When Margins Become Centers,” focusing on the artist’s approach to connecting personal stories with cross-cultural histories. As Saccocia writes, in a lecture that “unfolded like a great dinner table conversation, rich with anecdotes and touches of humor,” O’Grady shares her drive to “make the invisible visible.”

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