For this reason, as much as any intrinsic merit, Rachel Whiteread’s "apocalyptic sheds" as our critic Markie Robson-Scott called them, opened with a sense of occasion. Central London was still only a ...

Amy Sherald's "High Yella Masterpiece: We Ain't No Cotton Pickin' Negroes" is among the works in the "Black Bodies, White Spaces: Invisibility & Hypervisibility" exhibit, which is on view through Jan.