Race/Related: A museum that captures survival and continuance

The International African American Museum brings the whole Afro-Atlantic world fully into the picture. [View in browser](~/AAAAAQA~/RgRmeVIbP4QpAWh0dHBzOi8vbWVzc2FnaW5nLWN1c3RvbS1uZXdzbGV0dGVycy5ueXRpbWVzLmNvbS90ZW1wbGF0ZS9vYWt2Mj9jYW1wYWlnbl9pZD0zNyZlbWM9ZWRpdF9ycl8yMDIzMDYyNCZpbnN0YW5jZV9pZD05NTg5NSZubD1yYWNlJTJGcmVsYXRlZCZwcm9kdWN0Q29kZT1SUiZyZWdpX2lkPTc3Njc0OTUyJnNlZ21lbnRfaWQ9MTM3NDE0JnRlPTEmdXJpPW55dCUzQSUyRiUyRm5ld3NsZXR0ZXIlMkYyNWJjYWMxNC1kYzI4LTU0NDEtOWU1ZC01NTVkOWFkNjFlMDAmdXNlcl9pZD1hYTQ5MWVmN2YxZDk2NGU0OTc5ZmI3ODRlNzRlMDFkN1cDbnl0QgpkkRvNlmTliAm8Uht0cmlzdHJhbWJhbGR3aW45MEBnbWFpbC5jb21YBAAAAAA~)|[nytimes.com](~/AAAAAQA~/RgRmeVIbP0SxaHR0cHM6Ly93d3cubnl0aW1lcy5jb20vP2NhbXBhaWduX2lkPTM3JmVtYz1lZGl0X3JyXzIwMjMwNjI0Jmluc3RhbmNlX2lkPTk1ODk1Jm5sPXJhY2UlMkZyZWxhdGVkJnJlZ2lfaWQ9Nzc2NzQ5NTImc2VnbWVudF9pZD0xMzc0MTQmdGU9MSZ1c2VyX2lkPWFhNDkxZWY3ZjFkOTY0ZTQ5NzlmYjc4NGU3NGUwMWQ3VwNueXRCCmSRG82WZOWICbxSG3RyaXN0cmFtYmFsZHdpbjkwQGdtYWlsLmNvbVgEAAAAAA~~)[Continue reading the main story](#a11y-skip-ad-marquee) [Marquee Ad](~/AAAAAQA~/RgRmeVIbP0SZaHR0cHM6Ly9saXZlaW50ZW50Lm5ld3lvcmt0aW1lc2luZm8uY29tL2NsaWNrP3M9MjA3NTgwJmxpPVJSJm09YWE0OTFlZjdmMWQ5NjRlNDk3OWZiNzg0ZTc0ZTAxZDcmcD1SUl8yMDIzMDYyNCZ0ZT0xJm5sPXJhY2UlMkZyZWxhdGVkJmVtYz1lZGl0X3JyXzIwMjMwNjI0VwNueXRCCmSRG82WZOWICbxSG3RyaXN0cmFtYmFsZHdpbjkwQGdtYWlsLmNvbVgEAAAAAA~~) [More Race/Related](~/AAAAAQA~/RgRmeVIbP0S_aHR0cHM6Ly93d3cubnl0aW1lcy5jb20vc3BvdGxpZ2h0L3JhY2U_Y2FtcGFpZ25faWQ9MzcmZW1jPWVkaXRfcnJfMjAyMzA2MjQmaW5zdGFuY2VfaWQ9OTU4OTUmbmw9cmFjZSUyRnJlbGF0ZWQmcmVnaV9pZD03NzY3NDk1MiZzZWdtZW50X2lkPTEzNzQxNCZ0ZT0xJnVzZXJfaWQ9YWE0OTFlZjdmMWQ5NjRlNDk3OWZiNzg0ZTc0ZTAxZDdXA255dEIKZJEbzZZk5YgJvFIbdHJpc3RyYW1iYWxkd2luOTBAZ21haWwuY29tWAQAAAAA) June 24, 2023 In the African Ancestors Memorial Garden by Hood Design Studio, a boardwalk is marked by walls that recall the former storehouse where enslaved people were held and perished. Sculptures of kneeling figures commemorate those who died here. Visitors confront the present — their reflections in polished granite — as well as the past.Leslie Ryann McKellar for The New York Times A Journey of Grief and Grace [Author Headshot](~/AAAAAQA~/RgRmeVIbP0TCaHR0cHM6Ly93d3cubnl0aW1lcy5jb20vYnkvaG9sbGFuZC1jb3R0ZXI_Y2FtcGFpZ25faWQ9MzcmZW1jPWVkaXRfcnJfMjAyMzA2MjQmaW5zdGFuY2VfaWQ9OTU4OTUmbmw9cmFjZSUyRnJlbGF0ZWQmcmVnaV9pZD03NzY3NDk1MiZzZWdtZW50X2lkPTEzNzQxNCZ0ZT0xJnVzZXJfaWQ9YWE0OTFlZjdmMWQ5NjRlNDk3OWZiNzg0ZTc0ZTAxZDdXA255dEIKZJEbzZZk5YgJvFIbdHJpc3RyYW1iYWxkd2luOTBAZ21haWwuY29tWAQAAAAA) By [Holland Cotter](~/AAAAAQA~/RgRmeVIbP0TCaHR0cHM6Ly93d3cubnl0aW1lcy5jb20vYnkvaG9sbGFuZC1jb3R0ZXI_Y2FtcGFpZ25faWQ9MzcmZW1jPWVkaXRfcnJfMjAyMzA2MjQmaW5zdGFuY2VfaWQ9OTU4OTUmbmw9cmFjZSUyRnJlbGF0ZWQmcmVnaV9pZD03NzY3NDk1MiZzZWdtZW50X2lkPTEzNzQxNCZ0ZT0xJnVzZXJfaWQ9YWE0OTFlZjdmMWQ5NjRlNDk3OWZiNzg0ZTc0ZTAxZDdXA255dEIKZJEbzZZk5YgJvFIbdHJpc3RyYW1iYWxkd2luOTBAZ21haWwuY29tWAQAAAAA) Chief Art Critic In Charleston Harbor, where the initiating shots of the Civil War were fired — Fort Sumter is distantly visible — I’m on the site of a former shipping pier known as [Gadsden’s Wharf](~/AAAAAQA~/RgRmeVIbP0TWaHR0cHM6Ly93d3cucHJlc2VydmF0aW9uc29jaWV0eS5vcmcvbG9jYXRpb25zL2dhZHNkZW5zLXdoYXJmLz9jYW1wYWlnbl9pZD0zNyZlbWM9ZWRpdF9ycl8yMDIzMDYyNCZpbnN0YW5jZV9pZD05NTg5NSZubD1yYWNlJTJGcmVsYXRlZCZyZWdpX2lkPTc3Njc0OTUyJnNlZ21lbnRfaWQ9MTM3NDE0JnRlPTEmdXNlcl9pZD1hYTQ5MWVmN2YxZDk2NGU0OTc5ZmI3ODRlNzRlMDFkN1cDbnl0QgpkkRvNlmTliAm8Uht0cmlzdHJhbWJhbGR3aW45MEBnbWFpbC5jb21YBAAAAAA~). Here, in the 18th and early 19th centuries, ships carrying tens of thousands of enslaved Africans deposited their human cargo, a population that would, through unthinkable adversity and creative perseverance, utterly transform what “America” meant, and means. On this spot now, looking a bit like a ship itself, stands the eagerly awaited and long-delayed new [International African American Museum](~/AAAAAQA~/RgRmeVIbP0SvaHR0cHM6Ly9pYWFtdXNldW0ub3JnLz9jYW1wYWlnbl9pZD0zNyZlbWM9ZWRpdF9ycl8yMDIzMDYyNCZpbnN0YW5jZV9pZD05NTg5NSZubD1yYWNlJTJGcmVsYXRlZCZyZWdpX2lkPTc3Njc0OTUyJnNlZ21lbnRfaWQ9MTM3NDE0JnRlPTEmdXNlcl9pZD1hYTQ5MWVmN2YxZDk2NGU0OTc5ZmI3ODRlNzRlMDFkN1cDbnl0QgpkkRvNlmTliAm8Uht0cmlzdHJhbWJhbGR3aW45MEBnbWFpbC5jb21YBAAAAAA~). After an almost quarter-century journey hampered by political squalls, economic doldrums, sometimes mutinous crews, and last-minute fogs, this cultural vessel has securely, and handsomely, come to berth here, opening to the public on Tuesday. The new museum is very much what this place is about: the original forced infusion of Black cultural energy into America, and the consequences of that for the present. It’s the first major new museum of African American history in the country to bring the whole Afro-Atlantic world, including Africa itself, fully into the picture. The museum’s architecture, designed by [Henry N. Cobb](~/AAAAAQA~/RgRmeVIbP0TCaHR0cHM6Ly93d3cucGNmLXAuY29tL2Fib3V0L2hlbnJ5LW4tY29iYi8_Y2FtcGFpZ25faWQ9MzcmZW1jPWVkaXRfcnJfMjAyMzA2MjQmaW5zdGFuY2VfaWQ9OTU4OTUmbmw9cmFjZSUyRnJlbGF0ZWQmcmVnaV9pZD03NzY3NDk1MiZzZWdtZW50X2lkPTEzNzQxNCZ0ZT0xJnVzZXJfaWQ9YWE0OTFlZjdmMWQ5NjRlNDk3OWZiNzg0ZTc0ZTAxZDdXA255dEIKZJEbzZZk5YgJvFIbdHJpc3RyYW1iYWxkd2luOTBAZ21haWwuY29tWAQAAAAA) (1926-2020) with Curt Moody of Moody Nolan, is responsive to the institution’s complex global-local agenda. A long horizontal block of sand-beige brick raised high on stout pilings, it conjures the image of a boat in dry dock. But it also suggests a kind of Afro-futurist spacecraft, hovering, set for liftoff. Beneath and around it is a public park that the museum has named the African Ancestors Memorial Garden. It’s clearly conceived as a tribute to victims of the torturous Atlantic Ocean crossing known as the Middle Passage, and specifically to those who arrived, dead or alive, at this very spot. Ghostly images — life-size silhouettes of bodies packed together, shoulder to shoulder, as if in a ship’s hold — appear to be carved into the garden’s pavement. Yet surrounding, and softening, this sepulchral frieze are signs of new life and growth in the form of plantings, designed by the landscape artist [Walter J. Hood,](~/AAAAAQA~/RgRmeVIbP0S6aHR0cHM6Ly93d3cuaG9vZGRlc2lnbnN0dWRpby5jb20vP2NhbXBhaWduX2lkPTM3JmVtYz1lZGl0X3JyXzIwMjMwNjI0Jmluc3RhbmNlX2lkPTk1ODk1Jm5sPXJhY2UlMkZyZWxhdGVkJnJlZ2lfaWQ9Nzc2NzQ5NTImc2VnbWVudF9pZD0xMzc0MTQmdGU9MSZ1c2VyX2lkPWFhNDkxZWY3ZjFkOTY0ZTQ5NzlmYjc4NGU3NGUwMWQ3VwNueXRCCmSRG82WZOWICbxSG3RyaXN0cmFtYmFsZHdpbjkwQGdtYWlsLmNvbVgEAAAAAA~~) of lush vegetation: palm trees native to Africa, sweet grass native to South Carolina. [Continue reading the main story](#a11y-skip-universal-0) ADVERTISEMENT [Ad](~/AAAAAQA~/RgRmeVIbP0SZaHR0cHM6Ly9saXZlaW50ZW50Lm5ld3lvcmt0aW1lc2luZm8uY29tL2NsaWNrP3M9MTc0MTQ5JmxpPVJSJm09YWE0OTFlZjdmMWQ5NjRlNDk3OWZiNzg0ZTc0ZTAxZDcmcD1SUl8yMDIzMDYyNCZ0ZT0xJm5sPXJhY2UlMkZyZWxhdGVkJmVtYz1lZGl0X3JyXzIwMjMwNjI0VwNueXRCCmSRG82WZOWICbxSG3RyaXN0cmFtYmFsZHdpbjkwQGdtYWlsLmNvbVgEAAAAAA~~) The galleries “Carolina Gold” (left) and “Memories of the Enslaved” (right) show how rice cultivation arrived here with enslaved West Africans and the transformative impact of their labor on plantations in South Carolina.Leslie Ryann McKellar for The New York Times So even from the outside, this history museum set in a former slave port announces itself as being about something more than slavery. It’s a monument to survival and continuance. It situates Gadsden’s Wharf, and Charleston, on a wide map still being explored and expanded. Just inside the museum, a version of that map unfolds in the form of a kind of allée of cantilevered video screens flashing images of Afro-Atlantic cultures past and present: [the Great Mosque at Djenné](~/AAAAAQA~/RgRmeVIbP0TsaHR0cHM6Ly93d3cubnl0aW1lcy5jb20vMjAxMi8wNC8xOS9hcnRzL2Rlc2lnbi90aGUtZ3JlYXQtbW9zcXVlLWluLWRqZW5uZS1tYWxpLmh0bWw_Y2FtcGFpZ25faWQ9MzcmZW1jPWVkaXRfcnJfMjAyMzA2MjQmaW5zdGFuY2VfaWQ9OTU4OTUmbmw9cmFjZSUyRnJlbGF0ZWQmcmVnaV9pZD03NzY3NDk1MiZzZWdtZW50X2lkPTEzNzQxNCZ0ZT0xJnVzZXJfaWQ9YWE0OTFlZjdmMWQ5NjRlNDk3OWZiNzg0ZTc0ZTAxZDdXA255dEIKZJEbzZZk5YgJvFIbdHJpc3RyYW1iYWxkd2luOTBAZ21haWwuY29tWAQAAAAA) in Mali; the “door of no return” in Ghana, and contemporary street festivals in Bahia, Port-au-Prince, and Brooklyn. Accompanied by an oceanic World Music-style soundscape, the videos offer a Sensurround soak in the vitality and variety of diaspora as the museum envisions it. [Continue reading the main story](#a11y-skip-universal-1) ADVERTISEMENT [Ad](~/AAAAAQA~/RgRmeVIbP0SZaHR0cHM6Ly9saXZlaW50ZW50Lm5ld3lvcmt0aW1lc2luZm8uY29tL2NsaWNrP3M9MjA3NTc3JmxpPVJSJm09YWE0OTFlZjdmMWQ5NjRlNDk3OWZiNzg0ZTc0ZTAxZDcmcD1SUl8yMDIzMDYyNCZ0ZT0xJm5sPXJhY2UlMkZyZWxhdGVkJmVtYz1lZGl0X3JyXzIwMjMwNjI0VwNueXRCCmSRG82WZOWICbxSG3RyaXN0cmFtYmFsZHdpbjkwQGdtYWlsLmNvbVgEAAAAAA~~) And that view, as set out in a series of nine galleries, is alternately grand and granular. Two large wide-open spaces, labeled “African Worlds” and “South Carolina Connections,” are geared to ambitiously scaled, loosely themed multimedia displays, including a terrific globe-leaping video animation called “Traveling Through Time” by the New York-and-D.C.-based artist [Nate Lewis,](~/AAAAAQA~/RgRmeVIbP0S2aHR0cHM6Ly93d3cubmF0ZWxld2lzYXJ0LmNvbS8_Y2FtcGFpZ25faWQ9MzcmZW1jPWVkaXRfcnJfMjAyMzA2MjQmaW5zdGFuY2VfaWQ9OTU4OTUmbmw9cmFjZSUyRnJlbGF0ZWQmcmVnaV9pZD03NzY3NDk1MiZzZWdtZW50X2lkPTEzNzQxNCZ0ZT0xJnVzZXJfaWQ9YWE0OTFlZjdmMWQ5NjRlNDk3OWZiNzg0ZTc0ZTAxZDdXA255dEIKZJEbzZZk5YgJvFIbdHJpc3RyYW1iYWxkd2luOTBAZ21haWwuY29tWAQAAAAA) and a historically programmed touch-table map of the museum’s home state. Several smaller galleries, densely installed with objects and texts — the lucid exhibition design is by [Ralph Appelbaum](~/AAAAAQA~/RgRmeVIbP0SqaHR0cHM6Ly9yYWFpLmNvbS8_Y2FtcGFpZ25faWQ9MzcmZW1jPWVkaXRfcnJfMjAyMzA2MjQmaW5zdGFuY2VfaWQ9OTU4OTUmbmw9cmFjZSUyRnJlbGF0ZWQmcmVnaV9pZD03NzY3NDk1MiZzZWdtZW50X2lkPTEzNzQxNCZ0ZT0xJnVzZXJfaWQ9YWE0OTFlZjdmMWQ5NjRlNDk3OWZiNzg0ZTc0ZTAxZDdXA255dEIKZJEbzZZk5YgJvFIbdHJpc3RyYW1iYWxkd2luOTBAZ21haWwuY29tWAQAAAAA) — tend to be topic-specific, and a handful of cabinet-size pocket displays are even more tightly focused. One, called “American Journeys,” is a chronological sequence of these mini-installations tracing the Black story as it took place primarily in South Carolina, from plantation slavery through the Civil War and the civil rights era. There are no big surprises, but a familiar national narrative is refreshed and enlivened by being filtered through a regional lens. Rarely encountered is the kind of data found in a gallery called “African Roots,” where facing displays connect certain African art forms and spiritual practices with related ones in Latin America: Candomblé in Brazil, Santeria in Cuba and Puerto Rico. And it is worth visiting the museum just to find a gallery devoted to the West-African-sourced [Gullah Geechee](~/AAAAAQA~/RgRmeVIbP0S7aHR0cHM6Ly9ndWxsYWhnZWVjaGVlY29ycmlkb3Iub3JnLz9jYW1wYWlnbl9pZD0zNyZlbWM9ZWRpdF9ycl8yMDIzMDYyNCZpbnN0YW5jZV9pZD05NTg5NSZubD1yYWNlJTJGcmVsYXRlZCZyZWdpX2lkPTc3Njc0OTUyJnNlZ21lbnRfaWQ9MTM3NDE0JnRlPTEmdXNlcl9pZD1hYTQ5MWVmN2YxZDk2NGU0OTc5ZmI3ODRlNzRlMDFkN1cDbnl0QgpkkRvNlmTliAm8Uht0cmlzdHJhbWJhbGR3aW45MEBnbWFpbC5jb21YBAAAAAA~) culture of the Carolina, Georgia and Florida Atlantic coast, evoked here in a full-scale chapel-like “praise house” and in a short, poetic film commissioned by the museum from the Ummah Chroma collective and directed by [Julie Dash](~/AAAAAQA~/RgRmeVIbP4QCAWh0dHBzOi8vanVsaWVkYXNoLmNvbS8_Y2FtcGFpZ25faWQ9MzcmZW1jPWVkaXRfcnJfMjAyMzA2MjQmaW5zdGFuY2VfaWQ9OTU4OTUmbmw9cmFjZSUyRnJlbGF0ZWQmcmVnaV9pZD03NzY3NDk1MiZzZWdtZW50X2lkPTEzNzQxNCZ0ZT0xJnVzZXJfaWQ9YWE0OTFlZjdmMWQ5NjRlNDk3OWZiNzg0ZTc0ZTAxZDcjOn46dGV4dD1EYXNoJTIwaXMlMjBrbm93biUyMGZvciUyMGhhdmluZyxzZXJpZXMlMjBmb3IlMjBUdXJuZXIlMjBDbGFzc2ljJTIwTW92aWVzLlcDbnl0QgpkkRvNlmTliAm8Uht0cmlzdHJhbWJhbGR3aW45MEBnbWFpbC5jb21YBAAAAAA~). [Continue reading the main story](#a11y-skip-universal-2) ADVERTISEMENT [Ad](~/AAAAAQA~/RgRmeVIbP0SZaHR0cHM6Ly9saXZlaW50ZW50Lm5ld3lvcmt0aW1lc2luZm8uY29tL2NsaWNrP3M9NzI4Njk5JmxpPVJSJm09YWE0OTFlZjdmMWQ5NjRlNDk3OWZiNzg0ZTc0ZTAxZDcmcD1SUl8yMDIzMDYyNCZ0ZT0xJm5sPXJhY2UlMkZyZWxhdGVkJmVtYz1lZGl0X3JyXzIwMjMwNjI0VwNueXRCCmSRG82WZOWICbxSG3RyaXN0cmFtYmFsZHdpbjkwQGdtYWlsLmNvbVgEAAAAAA~~) A full-scale chapel-like “praise house,” where visitors can watch videos of people of Gullah ancestry talking and singing.Leslie Ryann McKellar for The New York Times Indeed, the sheer volume of new or unfamiliar information delivered by the museum’s displays is exhilarating. At the same time, the brutal, racist realities that fueled the Afro-Atlantic dispersal is never far from view. In “South Carolina Connections” Charleston’s catalytic role in the slave trade is made plain. ([Five years ago, the city issued a formal apology](~/AAAAAQA~/RgRmeVIbP0TeaHR0cHM6Ly93d3cubnl0aW1lcy5jb20vMjAxOC8wNi8xOS91cy9jaGFybGVzdG9uLXNsYXZlcnktYXBvbG9neS5odG1sP2NhbXBhaWduX2lkPTM3JmVtYz1lZGl0X3JyXzIwMjMwNjI0Jmluc3RhbmNlX2lkPTk1ODk1Jm5sPXJhY2UlMkZyZWxhdGVkJnJlZ2lfaWQ9Nzc2NzQ5NTImc2VnbWVudF9pZD0xMzc0MTQmdGU9MSZ1c2VyX2lkPWFhNDkxZWY3ZjFkOTY0ZTQ5NzlmYjc4NGU3NGUwMWQ3VwNueXRCCmSRG82WZOWICbxSG3RyaXN0cmFtYmFsZHdpbjkwQGdtYWlsLmNvbVgEAAAAAA~~) for the part it played in this shameful enterprise.) In a gallery titled “Carolina Gold,” we learn how rice cultivation, the state’s first boom industry, the one that created a rich white plantation-aristocracy, arrived here with enslaved West Africans and flourished through their backbreaking labor. Historical timelines deliver chilling reports from the past. Some news is good: A list of international revolutionary movements in which African-descendant people participated during the 18th and 19th century is long. But a list of episodes of anti-Black violence in the early 20th century in the United States is even longer. Read the rest of the story [here](~/AAAAAQA~/RgRmeVIbP0TvaHR0cHM6Ly93d3cubnl0aW1lcy5jb20vMjAyMy8wNi8yMy9hcnRzL2Rlc2lnbi9jaGFybGVzdG9uLWFmcmljYW4tYW1lcmljYW4tbXVzZXVtLmh0bWw_Y2FtcGFpZ25faWQ9MzcmZW1jPWVkaXRfcnJfMjAyMzA2MjQmaW5zdGFuY2VfaWQ9OTU4OTUmbmw9cmFjZSUyRnJlbGF0ZWQmcmVnaV9pZD03NzY3NDk1MiZzZWdtZW50X2lkPTEzNzQxNCZ0ZT0xJnVzZXJfaWQ9YWE0OTFlZjdmMWQ5NjRlNDk3OWZiNzg0ZTc0ZTAxZDdXA255dEIKZJEbzZZk5YgJvFIbdHJpc3RyYW1iYWxkd2luOTBAZ21haWwuY29tWAQAAAAA). EDITORS’ PICKS We publish many articles that touch on race. Here are several you shouldn’t miss. [[Article Image] © 2022 An-My Lê, courtesy of the artist and Marian Goodman Gallery](~/AAAAAQA~/RgRmeVIbP0TnaHR0cHM6Ly93d3cubnl0aW1lcy5jb20vMjAyMy8wNi8yMy90LW1hZ2F6aW5lL3ZpZXRuYW1lc2UtYW1lcmljYW4tYXJ0aXN0cy5odG1sP2NhbXBhaWduX2lkPTM3JmVtYz1lZGl0X3JyXzIwMjMwNjI0Jmluc3RhbmNlX2lkPTk1ODk1Jm5sPXJhY2UlMkZyZWxhdGVkJnJlZ2lfaWQ9Nzc2NzQ5NTImc2VnbWVudF9pZD0xMzc0MTQmdGU9MSZ1c2VyX2lkPWFhNDkxZWY3ZjFkOTY0ZTQ5NzlmYjc4NGU3NGUwMWQ3VwNueXRCCmSRG82WZOWICbxSG3RyaXN0cmFtYmFsZHdpbjkwQGdtYWlsLmNvbVgEAAAAAA~~) [The Vietnamese American Artists Searching for Identity Postwar refugees who’ve used their art to express complicated feelings of loss and home. By Joshua Glass](~/AAAAAQA~/RgRmeVIbP0TnaHR0cHM6Ly93d3cubnl0aW1lcy5jb20vMjAyMy8wNi8yMy90LW1hZ2F6aW5lL3ZpZXRuYW1lc2UtYW1lcmljYW4tYXJ0aXN0cy5odG1sP2NhbXBhaWduX2lkPTM3JmVtYz1lZGl0X3JyXzIwMjMwNjI0Jmluc3RhbmNlX2lkPTk1ODk1Jm5sPXJhY2UlMkZyZWxhdGVkJnJlZ2lfaWQ9Nzc2NzQ5NTImc2VnbWVudF9pZD0xMzc0MTQmdGU9MSZ1c2VyX2lkPWFhNDkxZWY3ZjFkOTY0ZTQ5NzlmYjc4NGU3NGUwMWQ3VwNueXRCCmSRG82WZOWICbxSG3RyaXN0cmFtYmFsZHdpbjkwQGdtYWlsLmNvbVgEAAAAAA~~) [[Article Image] Will Crooks for The New York Times](~/AAAAAQA~/RgRmeVIbP0TgaHR0cHM6Ly93d3cubnl0aW1lcy5jb20vMjAyMy8wNi8yMy9kaW5pbmcvYXNpYW4tYW1lcmljYW4tYnJld2VyaWVzLmh0bWw_Y2FtcGFpZ25faWQ9MzcmZW1jPWVkaXRfcnJfMjAyMzA2MjQmaW5zdGFuY2VfaWQ9OTU4OTUmbmw9cmFjZSUyRnJlbGF0ZWQmcmVnaV9pZD03NzY3NDk1MiZzZWdtZW50X2lkPTEzNzQxNCZ0ZT0xJnVzZXJfaWQ9YWE0OTFlZjdmMWQ5NjRlNDk3OWZiNzg0ZTc0ZTAxZDdXA255dEIKZJEbzZZk5YgJvFIbdHJpc3RyYW1iYWxkd2luOTBAZ21haWwuY29tWAQAAAAA) [What Does It Mean to Be an Asian American Brewer? Across the U.S., Asian beer makers are putting their mark on an industry that is still predominantly white. By T.M. Brown](~/AAAAAQA~/RgRmeVIbP0TgaHR0cHM6Ly93d3cubnl0aW1lcy5jb20vMjAyMy8wNi8yMy9kaW5pbmcvYXNpYW4tYW1lcmljYW4tYnJld2VyaWVzLmh0bWw_Y2FtcGFpZ25faWQ9MzcmZW1jPWVkaXRfcnJfMjAyMzA2MjQmaW5zdGFuY2VfaWQ9OTU4OTUmbmw9cmFjZSUyRnJlbGF0ZWQmcmVnaV9pZD03NzY3NDk1MiZzZWdtZW50X2lkPTEzNzQxNCZ0ZT0xJnVzZXJfaWQ9YWE0OTFlZjdmMWQ5NjRlNDk3OWZiNzg0ZTc0ZTAxZDdXA255dEIKZJEbzZZk5YgJvFIbdHJpc3RyYW1iYWxkd2luOTBAZ21haWwuY29tWAQAAAAA) [[Article Image] Brian Rea](~/AAAAAQA~/RgRmeVIbP0T8aHR0cHM6Ly93d3cubnl0aW1lcy5jb20vMjAyMy8wNi8xMy9zdHlsZS90aW55LW1vZGVybi1sb3ZlLXN0b3JpZXMtYmV0d2Vlbi1ibGFjay1hbmQtd2hpdGUtYm95cy5odG1sP2NhbXBhaWduX2lkPTM3JmVtYz1lZGl0X3JyXzIwMjMwNjI0Jmluc3RhbmNlX2lkPTk1ODk1Jm5sPXJhY2UlMkZyZWxhdGVkJnJlZ2lfaWQ9Nzc2NzQ5NTImc2VnbWVudF9pZD0xMzc0MTQmdGU9MSZ1c2VyX2lkPWFhNDkxZWY3ZjFkOTY0ZTQ5NzlmYjc4NGU3NGUwMWQ3VwNueXRCCmSRG82WZOWICbxSG3RyaXN0cmFtYmFsZHdpbjkwQGdtYWlsLmNvbVgEAAAAAA~~) [MODERN LOVE Tiny Love Stories: ‘Between Black and White Boys’ Modern Love in miniature, featuring reader-submitted stories of no more than 100 words.](~/AAAAAQA~/RgRmeVIbP0T8aHR0cHM6Ly93d3cubnl0aW1lcy5jb20vMjAyMy8wNi8xMy9zdHlsZS90aW55LW1vZGVybi1sb3ZlLXN0b3JpZXMtYmV0d2Vlbi1ibGFjay1hbmQtd2hpdGUtYm95cy5odG1sP2NhbXBhaWduX2lkPTM3JmVtYz1lZGl0X3JyXzIwMjMwNjI0Jmluc3RhbmNlX2lkPTk1ODk1Jm5sPXJhY2UlMkZyZWxhdGVkJnJlZ2lfaWQ9Nzc2NzQ5NTImc2VnbWVudF9pZD0xMzc0MTQmdGU9MSZ1c2VyX2lkPWFhNDkxZWY3ZjFkOTY0ZTQ5NzlmYjc4NGU3NGUwMWQ3VwNueXRCCmSRG82WZOWICbxSG3RyaXN0cmFtYmFsZHdpbjkwQGdtYWlsLmNvbVgEAAAAAA~~) [[Article Image] Tria Giovan](~/AAAAAQA~/RgRmeVIbP0TbaHR0cHM6Ly93d3cubnl0aW1lcy5jb20vMjAyMy8wNi8yMy9ib29rcy9sb2lzYWlkYS10cmlhLWdpb3Zhbi5odG1sP2NhbXBhaWduX2lkPTM3JmVtYz1lZGl0X3JyXzIwMjMwNjI0Jmluc3RhbmNlX2lkPTk1ODk1Jm5sPXJhY2UlMkZyZWxhdGVkJnJlZ2lfaWQ9Nzc2NzQ5NTImc2VnbWVudF9pZD0xMzc0MTQmdGU9MSZ1c2VyX2lkPWFhNDkxZWY3ZjFkOTY0ZTQ5NzlmYjc4NGU3NGUwMWQ3VwNueXRCCmSRG82WZOWICbxSG3RyaXN0cmFtYmFsZHdpbjkwQGdtYWlsLmNvbVgEAAAAAA~~) [UP CLOSE In ‘Loisaida,’ Photos of a Bygone New York Between 1984 and 1990, Tria Giovan captured everyday life on the Lower East Side. By Lauren Christensen](~/AAAAAQA~/RgRmeVIbP0TbaHR0cHM6Ly93d3cubnl0aW1lcy5jb20vMjAyMy8wNi8yMy9ib29rcy9sb2lzYWlkYS10cmlhLWdpb3Zhbi5odG1sP2NhbXBhaWduX2lkPTM3JmVtYz1lZGl0X3JyXzIwMjMwNjI0Jmluc3RhbmNlX2lkPTk1ODk1Jm5sPXJhY2UlMkZyZWxhdGVkJnJlZ2lfaWQ9Nzc2NzQ5NTImc2VnbWVudF9pZD0xMzc0MTQmdGU9MSZ1c2VyX2lkPWFhNDkxZWY3ZjFkOTY0ZTQ5NzlmYjc4NGU3NGUwMWQ3VwNueXRCCmSRG82WZOWICbxSG3RyaXN0cmFtYmFsZHdpbjkwQGdtYWlsLmNvbVgEAAAAAA~~) [[Article Image] Bryce Wymer](~/AAAAAQA~/RgRmeVIbP0T9aHR0cHM6Ly93d3cubnl0aW1lcy5jb20vMjAyMy8wNi8xOC9ib29rcy9yZXZpZXcvZmF0LXRpbWUtYW5kLW90aGVyLXN0b3JpZXMtamVmZmVyeS1yZW5hcmQtYWxsZW4uaHRtbD9jYW1wYWlnbl9pZD0zNyZlbWM9ZWRpdF9ycl8yMDIzMDYyNCZpbnN0YW5jZV9pZD05NTg5NSZubD1yYWNlJTJGcmVsYXRlZCZyZWdpX2lkPTc3Njc0OTUyJnNlZ21lbnRfaWQ9MTM3NDE0JnRlPTEmdXNlcl9pZD1hYTQ5MWVmN2YxZDk2NGU0OTc5ZmI3ODRlNzRlMDFkN1cDbnl0QgpkkRvNlmTliAm8Uht0cmlzdHJhbWJhbGR3aW45MEBnbWFpbC5jb21YBAAAAAA~) [FICTION Black Experience, Past and Present, Made Haunting and Surreal In his new story collection, “Fat Time and Other Stories,” Jeffery Renard Allen distorts reality to explore the lives of Black people. By Randy Boyagoda](~/AAAAAQA~/RgRmeVIbP0T9aHR0cHM6Ly93d3cubnl0aW1lcy5jb20vMjAyMy8wNi8xOC9ib29rcy9yZXZpZXcvZmF0LXRpbWUtYW5kLW90aGVyLXN0b3JpZXMtamVmZmVyeS1yZW5hcmQtYWxsZW4uaHRtbD9jYW1wYWlnbl9pZD0zNyZlbWM9ZWRpdF9ycl8yMDIzMDYyNCZpbnN0YW5jZV9pZD05NTg5NSZubD1yYWNlJTJGcmVsYXRlZCZyZWdpX2lkPTc3Njc0OTUyJnNlZ21lbnRfaWQ9MTM3NDE0JnRlPTEmdXNlcl9pZD1hYTQ5MWVmN2YxZDk2NGU0OTc5ZmI3ODRlNzRlMDFkN1cDbnl0QgpkkRvNlmTliAm8Uht0cmlzdHJhbWJhbGR3aW45MEBnbWFpbC5jb21YBAAAAAA~) Invite your friends. Invite someone to subscribe to the [Race/Related](~/AAAAAQA~/RgRmeVIbP0TJaHR0cHM6Ly93d3cubnl0aW1lcy5jb20vbmV3c2xldHRlcnMvcmFjZS1yZWxhdGVkP2NhbXBhaWduX2lkPTM3JmVtYz1lZGl0X3JyXzIwMjMwNjI0Jmluc3RhbmNlX2lkPTk1ODk1Jm5sPXJhY2UlMkZyZWxhdGVkJnJlZ2lfaWQ9Nzc2NzQ5NTImc2VnbWVudF9pZD0xMzc0MTQmdGU9MSZ1c2VyX2lkPWFhNDkxZWY3ZjFkOTY0ZTQ5NzlmYjc4NGU3NGUwMWQ3VwNueXRCCmSRG82WZOWICbxSG3RyaXN0cmFtYmFsZHdpbjkwQGdtYWlsLmNvbVgEAAAAAA~~) newsletter. Or email your thoughts and suggestions to racerelated@nytimes.com. 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