“Joiri Minaya: Divergences,” Kemper Museum’s fifth commissioned installation in the Atrium Projects series, extends far beyond the wall upon which it resides. Organized by Assistant..

“Dr. King’s policy was that nonviolence would achieve the gains for black people in the United States. His major assumption was that if you are..

Ryan Wilks' “Heaven” is a brooding meditation on Christianity’s obsession with the human body and a lamentation of institutionalized religion’s frequent marginalization of the LGBTQ community.

I’m not real, I’m just like you. You don’t exist in this society. If you did your people wouldn’t be seeking equal rights. You’re not..

Gerry Trilling has provided us all with a new visual repertoire to replace those outdated crochet images in “Memory Ponds,” her new exhibition of approximately 160 works, each titled with a number, at the Albrecht-Kemper Museum of Art.

In the last few years in museums and galleries across the nation, figurative portraiture by Black American artists has been enjoying a renaissance and long overdue attention from curators, academicians, and collectors. Kansas City is not absent in this renaissance, and one of the artists we can thank for that is gifted painter Kwanza Humphrey.

“Audacity: The March to Women’s Rights,” an exhibit at the Kansas City Kansas Community College Art Gallery, is part of a citywide celebration of the..