While attending school in New York City in the 1980s, Okwui Enwezor encountered few works by African artists in exhibitions, despite New York’s reputation as one of the best places to view contemporary art from around the world. According to an arts journalist, later in his career as a renowned curator and art historian, Enwezor sought to remedy this deficiency, not by focusing solely on modern African artists, but by showing how their works fit into the larger contexts of global modern and art history. Which finding, if true, would most directly support the journalist’s claim?

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