Explore the vast range of titles available.

Since the 1990s, an explicitly transnational and intercultural perspective has transformed understanding of the New Negro Renaissance, exposing a cultural and political movement that stretched from the United States to the Caribbean, Cuba, Mexico, and the Soviet Union.4 This article seeks to reconcile these critical trends, which are usually addressed in isolation, interpreting the thematic preoccupation with exhibition, display, and museums in W. E. B. Du Bois’s Dark Princess (1928), Thurman’s Infants of the Spring, and selected drawings by the Mexican caricaturist Miguel Covarrubias in relation to concepts of intercultural encounter, which are often marked by Orientalism, primitivism, or exoticism. Representations of exhibition and display in New Negro Renaissance literature and visual culture, which include depictions of African American viewers of African art, put notions of cultural authenticity and legibility under pressure in ways that highlight the possibilities and limitations of intercultural understanding. [...]these portrayals of visual art and exhibition are often situated in European locations or engage with European art that emerged from a hybrid, multiracial world. [...]these tropes serve as a vehicle for exploring intercultural understanding, but they are also haunted by colonialism because museums played a central role in the formulation of national identities (not least through the display of colonial loot). Seen from this perspective, it is evident that his work “involved strategies of mimicry that were obscured by the presumption of intimacy with the community . . . depicted (Davis, Eric Walrond, 138). [...]revealing affiliations and substitutions arise as a consequence of an unrelenting emphasis upon Covarrubias’s Mexican identity, which seeks to guarantee the authenticity of his caricatures by hinting at a natural affinity with primitivism.