didn't the structing school as New York City or the june Afri an artists in reputation is one of the best places to view contemporary art from around the world. to an arts journalist, later in his the world. Accounted curator and art historian, Enweror sought to remedy this deficiency, not by focusing solely on modern African artists, but by showing how their work fits into the larger context of global modern art and art history. Which finding, if true,would most directly support the journalist's claim? A)As curator of the Haus der Kunst in Munich, Germany, Enwezo r organized a retrospective of Ghanaian sculptor El Anatsui's work entitled El Anatsui: Triumphant Scale, one of the largest art exhibitions devoted to a Black artist in Europe's history. B) In the exhibition Postwar: Art Between the Pacific and the Atlantic, 1945-1965 Enwezor and cocurator Katy Siegel brought works by African artists such as Malangatana Ngwenya together with pieces by major figures from other countries, like US artist Andy Warhol and Mexico's David Siqueiros. Enwezor's work as curator of the 2001 exhibition The Short Century:Independence and Liberation Movements in Africa, 1945-1994 showed how frican movements for independence from ropean colonial powers following the Second rld War profoundly influenced work by can artists of the period, such as Kamala im Ishaq and Thomas Mukarobgwa. or organized the exhibition In/sight:

Question

didn't the structing school as New York City or the june Afri an artists in reputation is one of the best places to view contemporary art from around the world. to an arts journalist, later in his the world. Accounted curator and art historian, Enweror sought to remedy this deficiency, not by focusing solely on modern African artists, but by showing how their work fits into the larger context of global modern art and art history. Which finding, if true,would most directly support the journalist's claim? A)As curator of the Haus der Kunst in Munich, Germany, Enwezo r organized a retrospective of Ghanaian sculptor El Anatsui's work entitled El Anatsui: Triumphant Scale, one of the largest art exhibitions devoted to a Black artist in Europe's history. B) In the exhibition Postwar: Art Between the Pacific and the Atlantic, 1945-1965 Enwezor and cocurator Katy Siegel brought works by African artists such as Malangatana Ngwenya together with pieces by major figures from other countries, like US artist Andy Warhol and Mexico's David Siqueiros. Enwezor's work as curator of the 2001 exhibition The Short Century:Independence and Liberation Movements in Africa, 1945-1994 showed how frican movements for independence from ropean colonial powers following the Second rld War profoundly influenced work by can artists of the period, such as Kamala im Ishaq and Thomas Mukarobgwa. or organized the exhibition In/sight:

Answer 1

The question is asking which finding would most directly support the journalist's claim that Enwezor sought to remedy the deficiency of not showing how African artists' work fits into the larger context of global modern art and art history. Option B directly supports this claim as it states that Enwezor and co-curator Katy Siegel brought works by African artists together with pieces by major figures from other countries, like US artist Andy Warhol and Mexico's David Siqueiros. This shows that Enwezor was trying to place African artists in the larger context of global modern art and art history, which supports the journalist's claim. The other options do not provide evidence that Enwezor was trying to place African artists in a larger context. Therefore, the answer is B.

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