"Time might have felt circuitous and non-linear this year. In face of this year’s events, more foundational questions have resurfaced prompting introspection, reflection and re-evalution. Maya Stovall’s ongoing series "1526 (NASDAQ: FAANG)" (2018–) emerged out of the artist’s extensive research in historical archives. Each year in the series – starting with 1526 – reflects on critical moments in U.S. history with the artist expanding upon each date’s specific events with an annotated postcard. While Stovall’s series ends with the year 2019, I think 2020 could well be added to this series as a year of historical significance."

"Nevine Mahmoud’s "model 1 (egg, cradle)" (2020) appears like a mysterious object that could come straight out of a wunderkammer. A white marble egg floats atop delicate green leaves made from blown glass. The longer I look at this piece the more time seems to stand still evoking a sensation of prolonged suspense."

"Tenant of Culture’s textile assemblages incorporate fragmented garments into intimate sculptures. Through slicing, cutting, and re-assembling, the artist slows down the increasingly faster spinning circuits of fast fashion reflecting on the impacts of a globalized economy, an omnivorous commodity culture, and perpetual extraction of resources that came to a grinding halt in 2020."

"Resembling ancient wallcarvings, LaKela Brown’s plaster reliefs appear like archeological excavations. Displaying imprints and reliefs of doorknocker hoop earrings, "Still Life with Doorknocker Earrings With Fifteen Gold" (2020) references 1990s hip-hop culture and celebrates female empowerment. To me it appears like the artist brings together a group of women in this work and gathers them around a proverbial table to share their stories. Set in plaster they will be preserved for the future and not be forgotten."

"With its rhythmic patterns, Julia Bland’s textile works resemble ritual poems. Repetition and symmetry create a hypnotic flow that invites the viewer to trace the lines composing these patterns. Getting lost in its details exudes a calming effect."

"Conflating every sunrise and sunset all at once, Cauleen Smith’s "Charm and Hex" (2019) evokes a sensation slightly disorienting and magical at the same time. The artist herself points out that “thinking about the intangible qualities of colored light, both in nature and in cinema, gave [her] a strange kind of optimism” – a hopeful note to exit this year on."