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Reverberations: Lineages in Design History

4 March – 3 May 2025

Curated by Brian Johnson and Silas Munro

Reverberations transforms the gallery into an expansive educational space, reimagining design history to feature Indigenous, Black, and People of Color designers and cultural figures. With a dazzling assemblage of historical and contemporary works of art and design by over fifty artists, Reverberations questions the narrative of design tradition as a single dominant line. Reflecting on rich ancestries that reverberate across epochs, alphabets and graphic languages transmit contours of wisdom across cultures. Multidimensional maps reveal layers of experience and counter colonial flattening and erasures. Visual strategies deployed by Black designers are reinforced as motifs in present-day avant-garde data visualizations. And intricate Indigenous traditions of beadwork and textile art weave ancestral knowledge into the future.

Reverberations is curated by Brian Johnson and Silas Munro with the advice of curatorial advisors Randa Hadi, Lisa Maione, and Ramon Tejada. The exhibition is inspired by  BIPOC Design History, a series of courses facilitated by the design studio Polymode. Beginning online in 2021, these collaborative courses created a one-room schoolhouse informed by generations of design practitioners, an experiment in expanding access to learning while inspiring future generations. 

Contributors to the exhibition include: Akwesasne Notes, Munirah AlShami, Gail Anderson, BIPOC Design History with Edgar Casarin, Hone Bailey, MJ Balvanera, Alan Bell, Pedro Bell, Dina Benbrahim, Pilar Castillo, Melissa Cody, Shannon Doronio Chavez, Gráfica Latina (José Menéndez & Tatiana Gómez), Schessa Garbutt, Jeffrey Gibson, Tony Gonyea, Nathan P. Jackson, Louise E. Jefferson, Amos Paul Kennedy, Jr. with David Hernaiz & Zdravko Toic, Jon Key, Luba People, Jacob Lawrence, Yoon Soo Lee, Beatriz Lozano, Mbuti People, Saki Mafundikwa, Wael Morcos, Ziddi Msangi, Nontsikelelo Mutiti & Tinashe Mushakavanhu, Ella Myers, Shiva Nallaperumal & Juhi Vishnani, Onaman Collective (Christi Belcourt & Isaac Murdoch), Monique Ortman, Lívia Perez, Jackson Polys, Shraddha Ramani & William Villalongo, Roberto Rodriguez, Jennifer Sapiel Neptune, Theresa Secord, Bahia Shehab, Sarah Sockbeson, Mary Sully, Ramon Tejada & Carlos Avila, Pedro “Monky” Tolomeo Rojas Meza, Madeline Tomer Shay, Anna Tsouhlarakis, Dori Tunstall, Kelly Walters, Ben Warner, Lauren Williams, Alisha B Wormsley, Vocal Type, Tadanori Yokoo, and Vanessa Zúñiga Tinizaray.

Image courtesy of Polymode.

About the Curators

Brian Johnson

Brian Johnson, a member of the Monacan Indian Nation, is an award-winning designer and curator. He is a partner of Polymode, where he focuses on amplifying marginalized and forgotten voices through poetic research, learning experiences, and impactful design. He has guest lectured and hosted workshops at the School of Visual Arts; the Walker Art Center; AIGA’s National Design Conference; his alma mater, the Rhode Island School of Design; and is one of the founders of the online learning platform BIPOC Design History. As a curator, he is the author of Posters That Sing: Indigenous / Native American Printed and Designed Works, an exhibition scheduled to open September of 2026, at Poster House museum in New York. Deeply invested in the production of good design without the expense of sacrificing our humanity or environment, he extends these values to his recent clients: The New York Times Magazine, MIT Press, A24, Nike, Airbnb, MoMA, the Brooklyn Museum, Storefront for Art and Architecture, the Art Institute of Chicago, Dia Art Foundation, and the Cooper Hewitt, Smithsonian Design Museum. Johnson is the recipient of the 2023-24 Emily Hall Tremaine Journalism Fellowship for Curators for which he is focusing on Indigenous-made works to combat erasure and decolonize design. The three-part article series, “Designing a History of Indigenous Graphic Artists”, “How Can a Poster Sing?”, and “Can We Find Our Way to Indigenous Joy?”, appear on Hyperallergic. He is a contributor to the upcoming publication, Gatherings: New Directions in Indigenous Book History published by the University of Pennsylvania Press.

Silas Munro

Silas Munro is a designer, artist, writer, researcher, curator, surfer and descendant of the Banyole people of Eastern Uganda. He is the founder of the design studio Polymode based in Los Angeles and Raleigh that works with clients across cultural spheres. Commissions and collaborations include: The New York Times Magazine, MIT Press, Nike, Airbnb, the Brooklyn Museum, Storefront for Art and Architecture, the Art Institute of Chicago, Dia Art Foundation, and the Cooper Hewitt Smithsonian Design Museum. Munro is the curator and author of Strikethrough: Typographic Messages of Protest at Letterform Archive in 2022-2023. He was a contributor to W. E. B. Du Bois’s Data Portraits: Visualizing Black America and co-authored the first BIPOC-centered design history course, Black Design in America: African Americans and the African Diaspora in Graphic Design 19th-21st Century. His work was recently exhibited at the Raizes Gallery at Lesley University, the LA Design Festival, and the Scottsdale Museum of Art, and is included in the collections of Tufts University, Lesley University, and the Montalvo Arts Center. Upcoming exhibitions in 2025 include a solo show at The University of Hartford’s Joseloff Gallery, and in the group show Data Consciousness: Reframing Blackness in Contemporary Print at Print Center New York curated by Tiffany E. Barber. Munro is Founding Faculty, Chair Emeritus for the MFA Program in Graphic Design at Vermont College of Fine Arts.

Gallery hours:
Monday – Saturday 11am-6pm

Ford Foundation Gallery 
320 E 43rd St, New York, NY 10017
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More from this exhibition

Two people smiling in front of a garden background. Both people are wearing necklaces; one is wearing a black blazer and the other a red sweater.

Reverberations in Dialogue: Collaboration and Community in Design

Gallery interior with light blue walls. There are multiple artworks of different mediums and a long wooden desk with books and monitors.
In the press

Reverberations reviews

A collage of maps, posters, and images with various colors, scripts and fonts.

Reverberations in Dialogue: Lineages of Design and Design History

The word "REVERBERATIONS" in a color gradient text echoing and repeated on top of a black background.

Exhibition Opening: Reverberations: Lineages in Design History

The word "REVERBERATIONS" in a color gradient text echoing and repeated on top of a black background.
News

Ford Foundation Gallery presents Reverberations: Lineages in Design History

Exhibition installation information

Installation Views
Checklist
A hallway with wood flooring and framed text art on the right wall. The end wall features a vibrant, circular abstract pattern with the text REVERBERATIONS with a digital screen in the middle displaying the same animated text.
A hallway with wood flooring and framed text art on the right wall. The end wall features a vibrant, circular abstract pattern with the text REVERBERATIONS with a digital screen in the middle displaying the same animated text.
Entrance of the Ford Foundation Gallery with the glass doors opened leading to a blue gallery with artworks. To the left of the doors, is a list of contributors in black text.
An exhibition space with a light blue wall displaying various artworks and textiles. A central pedestal holds a small sculpture. Wall-mounted objects include framed artwork, textiles, and informational text. To the left is a white desk and exhibition didactic text.
A blue gallery wall featuring various artworks: a tribal mask, woven textiles, a framed map-like artwork, and a collection of books and papers displayed on a shelf and pedestal.
Gallery interior with light blue walls. There are multiple artworks of different mediums and a long wooden desk with books and monitors.
Art gallery with blue walls displaying colorful artworks and posters. Touchscreens and books are arranged on a long wooden desk with chairs. The floor is polished concrete.
Art gallery with blue walls displaying colorful artworks and posters. Touchscreens and books are arranged on a long wooden desk with chairs. The floor is polished concrete.
A blue gallery wall displaying art. From the left to the right, the artworks displayed are a monitor showing digital art; a large textile with colorful patterns; three framed fabric artworks; and a vintage-style poster featuring runners.
A blue gallery wall displays various artwork hanging and on a wooden shelf. There are several sculptures, baskets, posters, blankets, and digital art.
A blue gallery wall displaying various artworks: a tapestry, two green posters with abstract designs; three vibrant posters with collaged and colorful elements, and a wooden shelf holding a book and colorful baskets.
A gallery blue wall displaying various artworks, including prints and woven pieces. Prominent banners read, I REALLY LIKE THE WAY YOU RESPECT NATIVE AMERICAN RIGHTS. and THERE ARE BLACK PEOPLE IN THE FUTURE.
A blue gallery wall features three colorful vertical photographic prints, and three horizontal abstract framed triptych works. Off to the side, a wooden ledge holds a vinyl album and black patterned soccer ball.
An exhibition wall displays colorful posters, framed artworks, and smaller items and publications on a shelf. The centerpiece is a vibrant, text-heavy poster. To the right, posters on wooden sticks say “Water is Life”.
A blue gallery room with a long table displaying tablets and books. The walls are adorned with colorful posters and framed artworks. Several brown chairs are around the table. The ceiling has recessed lighting.
A spacious art gallery with light blue walls features colorful posters and prints displayed on the walls. There is a long table with chairs in the center, holding various objects.
An art exhibit with blue walls displays colorful artwork and posters. Two banners read statements about Native American rights and Black peoples future. A central table with books is surrounded by chairs, and the floor is polished concrete.PHOTOS SEBASTIAN BACH

BIPOC Design History with Edgar Casarin

(Santa Ana, CA, b. 2000, lives and works in Los Angeles, CA)
Mega Mix of BIPOC Design History, 2025
Video
17:18
Courtesy of BIPOC Design History 
Photo Edgar Casarin

Munirah AlShami

(Kuwait City, Kuwait, b. 1992, lives and works in London, United Kingdom)
‘Alhudhn’ (الحضن) – translation: the lap – the mom, and ‘Aldhahr’ (الظهر) – translation: the backbone – the dad, 2024
Wool
24 x 60 inches each
Courtesy of the Artist
Photo Sebastian Bach

Dimensional diagram where plant samples correspond to colored yarn on a loom.

Ella Myers

(Navajo Nation)
Navajo Dye Chart, Fourth-quarter 20th century
Mixed-media 
24 ¾ x 30 ¾ inches
Photo Sebastian Bach

Four passports on a desk. The top two passports are open while the bottom two are closed.

Pilar Castillo

(Belize City, Belize, b. 1976, lives and works in Los Angeles, CA)
Dual Citizenship: US Passport Booklet, 2019-2025
Handmade counterfeit booklet
5 x 3 ½ inches, 28 pages
Dual Citizenship: Caricom Passport Booklet, 2023-2025
Handmade counterfeit booklet
5 x 3 ½ inches, 32 pages
Dual Citizenship Video US Passport, 2020 
6:31
Dual Citizenship Video Caricom Passport, 2025 
6:32
Courtesy of the Artist
Photo Sebastian Bach

Book cover for “Decolonizing Design” featuring a woman enclosed in a ring of echoing circles.

Elizabeth (Dori) Tunstall

(Columbia, SC, b. 1972, lives and works in Los Angeles, CA)
Decolonizing Design: A Cultural Justice Guidebook, 2023
Book
8 ¼ x 5 ¾ inches, 136 pages

Bird shaped mask with painted details.

Nathan P. Jackson

(Tenakee Springs, AK, b. 1938, lives and works in Ketchikan, AK)
Raven Mask, 1971
Birch, alder, deer hide, calf’s tail, abalone, latex paint
Wood: 8 x 8 ½ x 13 inches
Leather: 16 x 14 inches
Courtesy of the Artist
Photo Sebastian Bach

Luba People

(Democratic Republic of the Congo—primarily South-Central region)
Lukasa Memory Board, Late 19th or early 20th century
Wood, metal, beads
10 × 5 ¾ × 2 ¼  inches 
Courtesy of Brooklyn Museum, Gift of Marcia and John Friede, 76.20.4

Book called “the Decorative Arts of Africa” with an image of the African continent.

Louise E. Jefferson

(Washington, DC, 1908-2002, lived and worked in New York, NY and Litchfield, CT)
The Decorative Arts of Africa, 1973
Book
11 ¼ x 9  inches, 191 pages
Photo Sebastian Bach

Saki Mafundikwa

(Harare, Zimbabwe, b. 1955, lives and works in Harare, Zimbabwe)
Afrikan Alphabets: The story of writing in Afrika, 2004
Book
8 ¼  x 8 ¼ inches, 192 pages

A world map depicting the Transatlantic slave trade and current Black migration patterns.

Shraddha Ramani & William Villalongo

(Bangalore, India, b. 1985, lives and works in Brooklyn, NY)
(Hollywood, FL, b. 1975, lives and works in Brooklyn, NY)
Black Migration ½, 2025
Lithography and silkscreen on paper
22 1/16 x 28 1/16 inches
Courtesy of William Villalongo, Shraddha Ramani and ©Villalongo Studio LLC
Photo Sebastian Bach

Three publications by Akwesasne Notes featuring images of Indigenous people and artifacts.

Works published under the imprint of Akwesasne Notes

(founded in 1968, Mohawk Nation at Akwesasne, on land now known as New York and Canada)
Volume 6, Number 1, April 1974
Pagans in our Midst by Andre Lopez, 1980
The Best of Akwesasne Notes: How Democracy Came to St. Regis & The Thunderwater Movement, 1974 
Newspaper, pamphlet, and book
Dimensions variable
Courtesy of Brian Johnson
Photo Sebastian Bach

Tony Gonyea

(Onondaga Nation, b. 1961, lives and works in Onondaga Nation)
Two Row wampum belt (replica), 2024-2025
Ceramic beads, leather, sinew
Belt: 24 x 8 ½ inches
Overall: 39 x 8 ½ inches
Courtesy of the Artist
Photo Sebastian Bach

An infographic table featuring images, names, and meanings of Amazigh symbols.

Dina Benbrahim

(Tangier, Morocco, b. 1990, lives and works in West Hartford, CT)
An Incomplete Taxonomy of Amazigh Symbols, 2023
Archival inkjet print
52 x 36 inches
Courtesy of the Artist

A collage featuring stylized alphabets in different fonts.

Vanessa Zúñiga Tinizaray

(Loja, Ecuador, b. 1977, lives and works in Loja, Ecuador)
Tinkuy. Encuentro entre opuestos (Tinkuy. Encounter Between Opposites), 2021
Video 
2:00
Courtesy of the Artist

Tapestry with multiple geometric patterns.

Melissa Cody

(No Water Mesa, Navajo Nation, AZ, b. 1983, lives and works in Long Beach, CA)
Untitled, 2022
Wool warp, weft, selvedge cords, and aniline dyes 
106 x 56 inches
Private CollectionPhoto courtesy of the Artist and Garth Greenan Gallery, New York / ShootArt / Christopher Burke

Three rectangular framed paintings on tree bark on sky blue gallery walls.

Mbuti People

(Ituri Rainforest, Democratic Republic of the Congo)
Bark Cloth Paintings, 20th century
Bark cloth, pigment
Left, #30: 40 ¼  x 29 ⅛ inches
Top, #13: 30 ½  x 11 ¾ inches
Bottom, #56: 40 ⅝  x 28 ⅞ inches
Courtesy of Andres Moraga Textile Art
Photo Sebastian Bach

Painting of five Black runners on a track.

Jacob Lawrence

(Atlantic City, NJ, 1917-2000, lived and worked in New York, NY and Seattle, WA)
Olympische Spiele München 1972 (Olympic Games Munich 1972), 1971-1972
Color screenprint
39 x 25 inches
Collection of Silas Munro and Bill Hildebrand
Photo Sebastian Bach

One red and one blue framed posters on a light blue gallery wall.

Kelly Walters

(Norwalk, CT, b. 1987, lives in Stamford, CT and works in New York, NY)
With a Cast of Colored Stars No. 1, 2018
With a Cast of Colored Stars No. 3, 2018
Archival inkjet prints 
35 ⅝ x 23 ½ inches each
Courtesy of the Artist
Photo Sebastian Bach

Two rust colored banners with white Spanish text.

Roberto Rodriguez

(Guadalupe, Nuevo León, Mexico, b. 1991)
EN TI (WITH YOU), 2024
Piteado – hand embroidered maguey fiber (aechmea magdalenae) on leather
8 ½ x 40 ½ inches each
Courtesy of the Artist
Produced by Talabarteria Montoya in Colotlán, Jalisco, Mexico
Photo Sebastian Bach

Vintage issue of BLK magazine featuring a photo of James Baldwin.

Alan Bell

(Los Angeles, CA, b. 1945, lives and works in Los Angeles, CA)
BLK, Volume 1, No. 9, Cover, 1989
Offset printing on newsprint, two color (red and black)
10 ⅞ x 8 ⅛ inches
Courtesy of BLK Publishing Company, Inc.
Photo Sebastian Bach
Graphic Design Alan Bell|
Photography Steve Long

Tabletop model of a colorful step pyramid with text.

Jeffrey Gibson

(Colorado Springs, CO, b. 1972, lives and works in the Hudson Valley)
Because Once You Enter My House, It Becomes Our House, 2020
Foam board, glue, inkjet prints
12 x 22 x 22 inches
Courtesy of the Artist
Photo Sebastian Bach

Woven tapestry with the word “Brooklyn” in English and Arabic.

Wael Morcos

(Beirut, Lebanon, b. 1986, lives and works in Brooklyn, NY)
Brooklyn, 2024
Jacquard woven cotton
54 x 72 inches
Courtesy of the Artist
Photo Sebastian Bach

Three coiled ceramic vessels on a light wood desk.

Lauren Williams

(Clinton, MD, b. 1988, lives and works in Detroit, MI)
Wake Work*, fragile extrusions (e, c, and a), 2022
3D printed glazed porcelain
e: 7 x 11 x 6 ½ inches
c: 9 ½ x 7 ½ x 5 ½ inches 
a: 5 x 7 x 6 inches
Courtesy of the Artist
Photo Sebastian Bach

A digital print on fabric featuring figures occupying the floorplan of a ship.

Ziddi Msangi

(Mbeya, Tanzania, b. 1967, lives and works in Seekonk, MA)
My Strength Is My Blood / Nguvu yangu iko katika damu yangu, 2021
Printed cotton
40 x 58 inches
Courtesy of the Artist
Photo Sebastian Bach

Bound sketchbook with woven paper cover.

Monique Ortman

(Edwards Air Force Base, CA, b. 1987, lives and works in Harrah, OK)
ᎧᎹᎹ Kamama: woven sketchbook cover, 2022
French paper (black cover and inside color pages) and Neenah paper (gold cover card stock), and artificial sinew 
10 ¼ x 10 x ½  inches
Courtesy of the Artist

Two stacked highly decorated green digital posters on a blue wall.

Vanessa Zúñiga Tinizaray

(Loja, Ecuador, b. 1977, lives and works in Loja, Ecuador)
Mujeres Amazónicas (Amazon Women), 2022
Viva mi Patria Bolivia (Long Live My Country Bolivia), 2018
Archival inkjet prints
34 ¼ x 24 inches each
Courtesy of the Artist
Photo Sebastian Bach

Five colorful woven baskets on a wooden shelf.

Clockwise from the center:

Mandeline Tomer Shay

(Poland Spring, ME, 1915-1993)
Fancy Basket, 1990s
Penobscot brown ash and sweetgrass
3 ¼ x 3 ¾ x 3 ¾ inches
HM9187, Courtesy of Theresa Secord Collection, Hudson Museum, University of Maine

Sarah Sockbeson

(b. 1983, lives and works in Veazie and Bangor, ME)
Basket, Fancy, 2013
Penobscot brown ash, sweetgrass and antler
5 ¼ x 5 ½ x 5 ½ inches
HM9168, Courtesy of Frances Robinson Mitchell Collection, Hudson Museum, University of Maine

Theresa Secord

(Portland, ME, b. 1958, lives and works in Farmington, ME)
Penobscot Storage Box, 2023
Red, blue, and tan dyed ash and braided sweetgrass with sweetgrass trim
8 x 7 inches
Collection of the Farnsworth Art Museum, Rockland, Maine
Museum purchase, Lynne Drexler Acquisitions Fund, 2023.9

Sarah Sockbeson

(b. 1983, lives and works in Veazie and Bangor, ME)
Glowing Sunset on the Carrabassett, 2011
Dyed brown ash and sweetgrass with painted birchbark 
3 ¾ x 6 x 6 inches
Courtesy of Maine Indian Basketmakers Alliance

Jennifer Sapiel Neptune

(Bangor, ME, b. 1969, lives and works in Indian Island, Old Town, ME)
Basket, Miniature, 2007
Penobscot brown ash and sweetgrass
1 x 3 x 3 inches
HM8623, Courtesy of Hudson Museum, University of Maine

Photo Sebastian Bach

Three framed colorful posters with Japanese text hanging on a light blue gallery wall.

Tadanori Yokoo

(Nishiwaki, Japan, b. 1936, lives and works in Tokyo, Japan)
Bottom left: Textiles Pavilion Expo 70, 1970
Color offset lithograph
40 ¾ x 30 ⅜ inches
Top: Kara Juro’s John Silver, 1968
Color offset lithograph
40 ¼ x 29 ⅛ inches
Bottom right: Chisetsu Yumiharizuki (Strange Tales of the Crescent Moon), 1971
Color offset lithograph
40 ⅝  x 30 ⅜ inches
Courtesy of the Artist and Albertz Benda
Photo Sebastian Bach

Green, blue, and purple stenciled symbols with English and Arabic captions on a light blue wall.

Bahia Shehab

(Beirut, Lebanon, b. 1977, lives and works in Cairo, Egypt)
A Thousand Times No, 2010-
Stencil graffiti
Dimensions variable
Courtesy of the Artist
Photo Sebastian Bach

Black text on white background that reads, “I really like the way you respect Native American rights.”

Anna Tsouhlarakis

(Lawrence, KS, b. 1977, lives and works in Boulder, CO)
The Native Guide Project, 2019-
Vinyl banner
47 x 95 ½ inches
Courtesy of the Artist
Photo Sebastian Bach

White text on a black background that reads, “THERE ARE BLACK PEOPLE IN THE FUTURE”

Alisha B. Wormsley

(Sewickley, PA, b. 1978, lives and works in Pittsburgh, PA)
There Are Black People In The Future, 2012-
Vinyl banner
47 x 95 ½ inches
Courtesy of the Artist
Photo Sebastian Bach

A lumpy amorphous form, approximately shaped like a round-edged diamond, on a black background.

Jackson Polys

(Ketchikan, AK, b. 1976, lives and works in New York, NY)
yélaa (verbal noun) ⑴ imitation; counterfeit | “the one that ravens”, 2025
Video
9:33
Courtesy of the Artist

Four framed posters in a row with vibrant colors.

Jeffrey Gibson (Choctaw/Cherokee) co-designed with Dana Claxton (Hunkpapa Lakota), Eric-Paul Reige (Diné), and Luzene Hill (Eastern Band of Cherokee Indians)

Because Once You Enter My House, It Becomes Our House, 2020/2021 
Posters
36 x 24 inches each
Courtesy of the Artists
Photo Sebastian Bach

Two patterned textiles made of natural fibers

Hone Bailey

(Ngāti Tūwharetoa, Aotearoa [New Zealand], b. 1985, lives and works in Ka‘a‘awa, HI)
Māra Kūmara a Ngātoroirangi (The sweet potato garden of Ngātoroirangi), 2025
Pīngao (ficinia spiralis), kiekie (freycinetia banksii), kō (saccharum officinarum), toetoe (austroderia richardii), paru (iron mud dye)
48 x 24 inches each
Courtesy of the Artist
Photo Sebastian Bach

With additional support from:
Tangimoe Clay
Roderick Pudigon
Kahiau Wallace
Olivia Wallace
Ka‘imina‘auao Johnson
Papahana Kuaola
Kapoina Bailey
Steve Flaws’s

Two white vertical prints with Korean characters overlaid against a Louis Vuitton pattern hanging on a light blue wall.

Yoon Soo Lee

(Seoul, South Korea, b. 1965, lives and works in MA)
Selections from My Korea Studies, 2014
빔 [beem] 1. new clothes, 2. empty
내, 네, 네 [nae, neh, neh] 1. my, 2. your, 3. yes
Archival inkjet prints
33 x 20 inches each
Courtesy of the Artist
Photo Sebastian Bach

Three digital photo prints vertically hung on a light blue wall displaying colorful dessert shrines with Spanish and English text.

Shannon Doronio Chavez

(Newhall, CA b. 1980, lives and works in Los Angeles, CA)
Ofrendas / Altars, 2024 
Archival inkjet prints
35 ¾ x 23 ¾ each
Courtesy of the Artist
Photo Sebastian Bach

Three drawings made up of three panels each. Each panel features a different abstract pattern.

Mary Sully

(Standing Rock Reservation, 1896-1963)
Henry Ford
Edwin C. Hill
John Philip Sousa 
1930s
Colored pencil, ink, crayon, paint
34 ¾ x 18 ¾ inches each
Courtesy of The Mary Sully Foundation
Photo Sebastian Bach

Sheet of postage stamps in grids, each with text from the Emancipation Proclamation.

Gail Anderson

(New York, NY, b. 1962, lives and works in New York, NY)
Emancipation Proclamation USPS Stamp Design, 2013
Uncut press sheet of postage stamps
36 x 13 ½ inches
Courtesy of the Artist and Milton Glaser Design Study Center and Archives/SVA
Photo Sebastian Bach

Flow chart with black and red text indicating important queer milestones in history.

Ben Warner

(Barberton, OH, b. 1996, lives and works in Cincinnati, OH)
with Brian Johnson and Silas Munro
GAYS, QUEERS, FAGS, DYKES, SISSIES, AND ABSTRACT ART, 2020
Poster
24 x 16 inches
Courtesy of the Artists and Polymode
Photo Sebastian Bach

George Clinton album cover with tiled text, cartoons, and a bikini clad woman.

Pedro Bell

(Chicago, IL, 1950-2019, lived and worked in Chicago, IL)
Album design for George Clinton’s Some of My Best Jokes Are Friends, 1985
12 ¼ x 12 ¼ inches
Photo Sebastian Bach

A black soccer ball with white accents and the text, “Querer es Poder.”

Schessa Garbutt

(Inglewood, CA, b. 1994, lives and works in Los Angeles, CA)
Querer Es Poder Soccer Ball (Where There’s A Will, There’s A Way Soccer Ball), 2023
32 panel soccer ball
9 x 9 x 9 inches
Photo Sebastian Bach

A poster for a New Years Eve concert in Peru.

Pedro “Monky” Tolomeo Rojas Meza

(Jauja, Perú, b. 1961, lives and works in Lima, Perú)
Untitled Music Festival Poster, 2018
Silkscreen on repurposed paper
69 x 65 inches
Courtesy of Andrew Mroczek
Photo Sebastian Bach

Four canvas posters on wooden stakes with drawings of a pregnant woman and a winged figure with text “Water is sacred” and “Water is life”.

Onaman Collective (Christi Belcourt & Isaac Murdoch)

(founded in 2014)
Water is Life, 2016-2022
Water is Sacred, No Pipelines!, 2016-2022
Silkscreen on canvas
Dimensions variable
Courtesy of the Artists
Photo Sebastian Bach

Interactive web page with timeline of Latinx design history

Ramon Tejada & Carlos Avila

(Santiago, Dominican Republic, b. 1975, lives and works in Providence, RI)
(Tala, Mexico, b. 1986, lives and works in Los Angeles, CA)
Arte y Diseño LATINX: Comunicación Cotidiana (LATINX Art and Design: Everyday Communication), 2021
Miro board
Courtesy of the Artists

A grid of multicolored posters which each read, “God is Change.”

Amos Paul Kennedy, Jr. with David Hernaiz & Zdravko Toic

(Lafayette, LA, b. 1950, lives and works in Detroit, MI)
The Central Tenet of EARTHSEED as written by Lauren Oya Olamina, 2025
Letterpress posters
19 x 12 ½ inches each
Courtesy of the Printer
Photo Sebastian Bach

Magazine cover for “FIRE!!,” featuring the profile of a Black figure with sphinx earring.

Aaron Douglas (cover designer) Wallace Thurman (editor), Richard Bruce Nugent (interior illustrator)

FIRE!! Devoted to the Younger Negro Artists, 1926 / 1985
Magazine, facsimile edition
11 ¼ x 8 ¾ inches, 48 pages

Three magazines with English and Arabic text and photos of Arab women on the covers.

Al Hayya

(Beirut, Lebanon, founded in 2020)
Issue #1 | Agency, 2022
9 ⅞ x 8 ¼ inches, 156 pages
Issue #2 | Land and Body, 2022
9 ⅞ x 8 ¼ inches, 192 pages
Issue #3 | Everything is on the Table, 2023
9 ⅞ x 8 ¼ inches, 144 pages
Magazine, soft cover
Courtesy of the Artists
Photo Jane Kratochvil

Three risograph publications in different sizes.

MJ Balvanera

(CDMX, Mexico, b. 1991, lives and works in CDMX, Mexico and Los Angeles, CA)
Relatos de Santa María (Tales of Santa María), 2023
Risograph book, spiral bound
5 ½ x 8 ½ inches, 36 pages
Guía para impresión a color en risografía (Guide to color printing in risograph), 2024
Risograph book, saddle stitch bound
7 ½ x 14 ¾ inches, 16 pages
Ruta de la amistad (Friendship route), 2025
Risograph book
11 x 5 ½ inches, 80 pages
Edition of 200
Courtesy of Impresos México
Photo Sebastian Bach

Book cover for “The Queer Arab Glossary,” with small drawings of hands and birds.

Marwan Kaabour (editor), Rabih Alameddine (foreword), Haitham Haddad (illustrator), Suneela Mubayi (glossary editor)

The Queer Arab Glossary, 2024
Book
8 ⅝ x 6 inches, 160 pages

Book cover for “Black, Queer, & Untold” featuring a Black person’s face in profile.

Jon Key

(Seale, AL, b. 1990, lives and works in Brooklyn, NY)
BLACK, QUEER, & UNTOLD: A New Archive of Designers, Artists, and Trailblazers, 2024
Book
9 ¾ x 7 ¼ inches, 448 pages

Book cover for “Some Writers Can Give You Two Heartbeats” featuring the book’s table of contents.

Nontsikelelo Mutiti & Tinashe Mushakavanhu

(Harare, Zimbabwe, b. 1982, lives and works in Harare, Zimbabwe and New Haven, CT)
(Harare, Zimbabwe, b. 1983, lives and works in Oxford, United Kingdom)
Some Writers Can Give You Two Heartbeats, 2019
Book
8 x 5 ½ inches, 258 pages
Courtesy of the Artists

Book cover for, “Tales of the Iroquois” with an illustration of warriors fighting a giant mosquito.

Tehanetorens

(Onchiota, NY, 1910-2008, lived and worked in the Mohawk Nation at Akwesasne)
Tales of the Iroquois, 1976
Book
9 x 6 inches, 104 pages
Photo Jane Kratochvil

Book cover for “Men of Color,” with photos and illustrations of Black men embracing.

Vega Studios

(New York, NY, b. 1955, lives and works in Sicklerville, NJ)
Men of Color, 1989
Book
9 x 6 inches, 68 pages
Photo Sebastian Bach

Newspaper front titled “Vocal Civilian” with a black and white photograph of a crowd of people.

Vocal Type

(founded in 2016)
The Vocal Civilian, 2024
Newspaper
22 ⅝ x 14 ½ inches
Courtesy of Tré Seals
Photo Sebastian Bach

Webpage with screen recorded videos of online lectures on BIPOC design history.

BIPOC Design History, facilitated by Polymode

(founded in 2021)
Black Design in America: African Americans and the African Diaspora in Graphic Design 19th Century-21st Century, 2021
Incomplete Latinx Stories of Diseño Gráfico Borderlands/ La Frontera*, 2021
Design Histories in Southwest Asia & North Africa: Voices from the SWANA Diaspora, 2023
Online courses
Courtesy of BIPOC Design History

Slideshow of archival documents like maps, diagrams, and posters, all related to BIPOC design.

BIPOC Design History

Reverberations: Historical Lineages Slideshow, 2025
Slideshow of historical images, diagrams, maps, documents and books
Courtesy of BIPOC Design History
Photo by Sundhya Anthony

A grid showing a variety of graphic design styles in Latin American posters.

Gráfica Latina (José Menéndez López & Tatiana Gómez)

(San Juan, Puerto Rico, b. 1980, lives and works between Providence, RI and Boston, MA)
(Bogotá, Colombia b. 1988, lives and works between Providence, RI and Boston, MA)
Gráfica Latina, 2021-
Website
Courtesy of the Artists

A white haired man with glasses reading a Portuguese language newspaper titled “Lampiao.”

Lívia Perez

(Ribeirão Preto, Brazil, b. 1985, lives and works in São Paulo, Brazil and Eugene, OR)
Lampião da Esquina, Lighting up the Brazilian Press, 2016
Video
1:21:57
Executive Producer Giovanni Francischelli
Production Doctela
Courtesy of the Artists

A greyscale image of the text “CALCULA” in a geometric font.

November (Shiva Nallaperumal & Juhi Vishnani)

(Chennai, India b. 1992, lives and works in Mumbai, India)
(Mumbai, India, b. 1992, lives and works in Mumbai, India)
Calcula, 2017
Typeface
Courtesy of the Artists
Design Shiva Nallaperumal
Programming Tal Leming
Published by Typotheque

Interactive webpage explaining the inspiration and properties of the font Ancho.
Hourglass shaped vortex animation spelling the word, “Reverberations.”

Beatriz Lozano

(San Diego, CA, b. 1993, lives and works in Brooklyn, NY)
Specimen site: Ancho, 2020
Website
Ancho in, 2025
Augmented reality
Courtesy of the Artist

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