...er, a few weeks ago, in The Root:

There is no sign of the so-called hope at an excellent show now on view in Atlanta's High Museum of Art, After 1968: Contemporary Artists and the Civil Rights Legacy. All the same, the artists in After 1968 offer a number of different takes on the central question of Obama's candidacy: "Okay; now what?"

After 1968 is on display at the High along with a new survey of civil rights photography called Road to Freedom: Photographs from the Civil Rights Movement, 1956–1968. (Both shows, packaged together as "History Remixed" are on view until October 2008.) Road to Freedom displays hundreds of iconic civil rights photographs from the High's permanent collection. Using supplementary materials like maps, posters, magazines and official documents like Rosa Parks' fingerprint paper work, it sheds new light on photography's value as both documentation and a tactical tool for shaping public sentiment.

Road to Freedom is worthy in its own right, but, if you're old enough, you've likely already worshipped, found strength and grieved in this church before. The six artists in After 1968—Leslie Hewitt, the Otabenga Jones & Associates collective, Adam Pendleton, Jefferson Pinder, Nadine Robinson and Hank Willis Thomas—were invited by High Museum curator Jeffery Grove to remix the images in Road to Freedom. The results have all that glorious diversity and nagging ambiguity that crops up whenever we think about our recent history. [full old me]