29:. The exhibition brought together the art of "Asian, African and Caribbean artists in post war Britain", as indicated in the original title. It is celebrated as a landmark initiative for reflecting on the colonial legacy of Britain and for establishing the work of overlooked artists of African, Caribbean, and Asian ancestry. Curated by artist, writer, and editor
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was made possible thanks to the growing grassroots activism related to the
British Black Arts Movement, feminist critique, and anti-racist discourses in the UK, the US, and South Africa. The selection criteria of the exhibition focused on the relationship between modernism in African, Caribbean, and
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Rashid Araeen has been criticized for the gender imbalance in the exhibition. Only four of the twenty-four artists were women: Sonia Boyce, Mona Hatoum, Lubaina Himid, and Kumiko
Shimizu. Araeen stated that he was not able to locate Black and Asian women artists from earlier generations. He added
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Although Araeen used "Afro-Asian" in the exhibition catalogue and the wall texts to refer to the participating artists, the promotional banner used a different title: "The Other Story: Asian, African and
Caribbean artists in post-war Britain." Cultural historian Lucy Steeds argues that this
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In her exhibition review published in
December 1989, Stupa Biswas criticized the show for the lack of representation of black women artists. In response to Biswas, Araeen wrote that the question of equal representation of black women artists is related to the "nature of postwar Afro-Asian
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In his introduction in the exhibition catalogue, Rasheed Araeen asks: "Can true pluralism be achieved without recovering what we have lost in the past, for whatever reasons? Can we afford to be complacent any more?"
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writes that "Making an exhibition on the basis of racial origin is not something that comes easily to the art world". The exhibition was first proposed to but rejected by the
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was divided into four thematic sections: "In the
Citadel of Modernism", "Taking the Bull by the Horns", "Confronting the System", and "Recovering Cultural Metaphors".
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that several women artists refused his invitation after hesitating that the organizing principle of the exhibition could create "a ghettoising context".
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Asian artists who resided in the UK for at least ten years. Therefore, the show is considered an intervention into the "exclusive canon of Euro-American
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in the late 1980s. The legacy of the exhibition is significant in the museum field, as many of the artists are currently part of
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338:"Retelling 'The Other Story' – or What Now? - The Other Story: Afro-Asian Artists in Post-War Britain • Afterall"
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was a response to the "racism, inequality, and ignorance of other cultures" that was pervasive in the
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terminology disbands the solidarity and the "hyphenated connectivity in 'Afro-Asian'".
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was an exhibition held from 29 November 1989 to 4 February 1990 at the
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immigration" in the UK while calling her approach "phoney feminism".
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452:"Notes from the Field: Navigating the Afterlife of The Other Story"
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The exhibition included works by twenty-four artists, including
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The Other Story: Afro-Asian artists in post-war
Britain
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in 1978 for being "untimely". Some critics argue that
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In the exhibition catalogue, Hayward
Gallery Director
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123:Keith Piper
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548:Categories
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221:References
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188:modernism
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