At Print Center New York, a complex dilemma emerges at the heart of Data Consciousness: Reframing Blackness in Contemporary Print. First, some context: This exhibition draws inspiration from a series of infographics created by W. E. B. Du Bois that reflect the everyday realities of Black individuals after Emancipation, originally showcased at the 1900 Paris Exposition World’s Fair. Dubbed “data portraits” by Du Bois, these visuals have been transformed into an artistic endeavor by creators William Villalongo and Shraddha Ramani, evolving from a purely sociological approach into a broader artistic exploration. They have crafted a series of infographic portfolios using diverse printmaking methods, while also refreshing their context by collaborating with Black scholars, social scientists, and activists dedicated to research on the contemporary experiences of Black individuals in America. Their work is further enhanced by the contributions of artists such as Kameelah Janan Rasheed, Tahir Hemphill, Julia Mallory, and Silas Munro, whose sculptural, video, textile, and installation pieces are interwoven throughout the exhibit.
The crux of the matter is that the foundational data supporting Du Bois’s initial vision seeks to persuade its audience. Villalongo and Ramani even cite Du Bois in a portfolio image (not included in the exhibit), where he wrote in 1926, “Thus all Art is propaganda and ever must be… I stand in utter shamelessness and say that whatever art I have for writing has been used always for propaganda for gaining the right of black folk to love and enjoy.” However, I believe the exhibition aims for something beyond mere persuasion; it strives to deepen our understanding of data.
One example is Rasheed’s installation, “Plot It/Point Moving” (2025), which features a video display, framed diagrams, and scattered black and white images of elements such as hands and fragments of white paper inscribed with text. The texts often consist of incomplete thoughts, showcasing phrases like “Rubbing: contradictions and ambiguities merging.”
Similarly, the charts by Villalongo and Ramani defy straightforward interpretation. For instance, the piece titled “Visualizando La Afrodignidad Skin Color & Race in Puerto Rico” presents a gradient field transitioning from light to dark gray, segmented by flowing red lines. As per the caption, it aims to illustrate how systemic colorism in Puerto Rico adversely impacts individuals with darker skin tones, but I find myself accepting this explanation without full comprehension.
On the other hand, some of their charts hit the mark. One piece depicting the distribution of Black individuals across the continental U.S. employs a brilliant chromatic scheme that darkens in areas of lower population density and becomes more vibrant and colorful where the numbers increase. Conversely, some prints may come across as excessively clear, such as the infographic detailing “Black Children Enrolled in Charter, Private and Public Schools,” where a massive red wave overshadows smaller yellow and blue currents, clearly indicating that Black children overwhelmingly participate in public education compared to charter or private schooling.
Clearly, the artwork on display transcends mere propaganda. Whereas propaganda primarily seeks to influence one’s perspective, this exhibition compels viewers to contemplate in multi-faceted and sometimes conflicting ways. Engaging with this art feels akin to encountering an iceberg of meaning; one perceives a monumental construct while realizing that much of its essence remains unseen. This is the true power of art—to heighten our awareness of the complexities inherent to the human experience, even when those complexities challenge our understanding.
Data Consciousness: Reframing Blackness in Contemporary Print runs at Print Center New York (535 West 24th Street, Chelsea, Manhattan) until December 13. The exhibition was curated by Tiffany E. Barber.
