The New York Times, 2023. Claude Manet’s “Olympia” served as the central piece in the “Manet/Exhibit” at the Met which brought the painting to New York for the first time. Jasin Farago notes that O’Grady is one of the few critics who has offered attention to the maid, who was actually a French model named Laure.
Holland Cotter reviews Just Above Midtown: Changing Spaces, which showcased the ground-breaking Black-owned gallery, JAM, that opened in 1974. In his review, Cotter recounts the gallery’s history and monumental works, including O’Grady’s seminal persona, Mlle Bourgeoise Noire which she debuted at JAM.
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.
Holland Cotter, Art & Design — Cotter's review of O'Grady's exhibit at Alexander Gray focuses on her use of collage in both "Cutting Out the New York Times" and "Rivers, First Draft" as a method of shaping her complex history.