In The First and the Last of the Modernists, an installation for the 2010 Whitney Biennial, two of O’Grady’s careers—rock music critic and avant-garde artist—met unexpectedly. She’d taught the work of Charles Baudelaire for two decades at SVA.
Continues O'Grady's attempt to engage and comprehend the self through the study of cultural history, and vice versa. Her historic approach to postmodernist concerns (O'Grady won the Sons of...
O'Grady's 1994 photo-installation of cibachrome diptychs, is aesthetically perhaps her most complete and satisfying work. It had a long gestation period. Its 16 diptychs were selected from...
The Momentary, 2024. To commemorate the acquisition of “Untitled: Mlle Bourgeoise Noire,” by Crystal Bridges Museum of American Art, Larissa Ramey examines O’Grady’s presentations of Black womanhood and identity within her work which sheds light on the intricate intersection of race and gender in contemporary society.”
The Guardian, 2023. Veronica Esposito’s review of group exhibition, Inheritances, at the Whitney curated by Rujeko Hockley. Along with Ephraim Asili’s 2020 film ‘The Inheritance,” Hockley cites O’Gradys “Rivers, First Draft” as one of the major inspirations for the show as he sought to present challenging works of Black avant-garde art.
Miscegenated Family Album, at Alexander Gray Associates, NYC — Discussion of framing as a technique of meaning in O’Grady’s conceptual photo-installation.