ABOUT ARTISTS COLOPHON LOCATION + HOURS ACCESSIBILITY

It is with immense pleasure to invite you to The 11th Hour, the eleventh annual group exhibition by the Black student body of the Yale School of Art.
We hope you will join us in celebrating the labor, imagination, and brilliance of these artists. CLOSE
We hope you will join us in celebrating the labor, imagination, and brilliance of these artists. CLOSE
Abenda Sohn
Ambrose Murray
Anietie Ekanem
Cameron Downey
Charitssa Stone
Cierra Peters
Christopher Desanges
Denzel Boyd
Erol Scott Harris
Faith Couch
Gozié Ojini
Jaamal Benjamin
Jasmine Clarke
Jeremy Grier
Jesús Hilario-Reyes
Kimberly Heard
Nic[o] Brierre Aziz
Taína Cruz
Taisha Carrington
Theo France-Haggi
Vernando Rueben
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Ambrose Murray
Anietie Ekanem
Cameron Downey
Charitssa Stone
Cierra Peters
Christopher Desanges
Denzel Boyd
Erol Scott Harris
Faith Couch
Gozié Ojini
Jaamal Benjamin
Jasmine Clarke
Jeremy Grier
Jesús Hilario-Reyes
Kimberly Heard
Nic[o] Brierre Aziz
Taína Cruz
Taisha Carrington
Theo France-Haggi
Vernando Rueben
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This exhibition is organized by Aliyah Efotte, Jaamal Benjamin, Denzel Boyd, Gozie Ogini, and Cierra Peters.
Curator: Aliyah Efotte.
Exhibition Design: Gozie Ogini.
Identity: Denzel Boyd.
Print: Charitssa Stone and Theo France-Haggi.
Digital: Cierra Peters.
Portraits: Christopher Desanges and Jasmine Clarke.
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Curator: Aliyah Efotte.
Exhibition Design: Gozie Ogini.
Identity: Denzel Boyd.
Print: Charitssa Stone and Theo France-Haggi.
Digital: Cierra Peters.
Portraits: Christopher Desanges and Jasmine Clarke.
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Location: Yale School of Art, 32 Edgewood Gallery
32 Edgewood Avenue, New Haven, CT 06511
Opening Reception: May 16th, 2025 from 6 PM – 8 PM
Closing Reception: May 23rd, 2025 from 6 PM – 8 PM
On view: May 16–23
HOURS
Monday, May 19, 2025: 1 PM - 3 PM
Tuesday, May 20, 2025: 1 PM - 5 PM
Wednesday, May 21, 2025: 1 PM- 5 PM
Thursday, May 22, 2025: 1 PM - 5 PM
Friday, May 23, 2025: 3 PM - 5 PM
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32 Edgewood Avenue, New Haven, CT 06511
Opening Reception: May 16th, 2025 from 6 PM – 8 PM
Closing Reception: May 23rd, 2025 from 6 PM – 8 PM
On view: May 16–23
HOURS
Monday, May 19, 2025: 1 PM - 3 PM
Tuesday, May 20, 2025: 1 PM - 5 PM
Wednesday, May 21, 2025: 1 PM- 5 PM
Thursday, May 22, 2025: 1 PM - 5 PM
Friday, May 23, 2025: 3 PM - 5 PM
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Receptions are open to the public.
The gallery is wheelchair accessible.
Please reach out to Benjamin Weathers with any questions regarding accommodations.
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The gallery is wheelchair accessible.
Please reach out to Benjamin Weathers with any questions regarding accommodations.
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The 11th Hour names a precipice - a moment charged with both urgency and inevitability. It is the moment just before: before change, before arrival, before revelation. For Black artists—makers of memory, meaning, motion, and joy—the 11th hour is not a point of crisis, but of convergence. These artists, MFA graduate students at the Yale School of Art, do not ask for space as they move through the architectures of post-racial institutional neutrality. Instead, they coalesce throughout and amongst the folds hewn by ancestrally-aligned, collective liberatory energies.
In this exhibition, the phrase signals not lateness or delay, but the intensity and immanence of Black presence within institutional temporality. Malcom Tariq’s poetic language envisages a cosmographic projection of “the bottom” as a place of becoming, imagining, building, and entering. Entrusting the reader with heeding the hollow, we’re invited to join, from the nadir, a world previously shaped by those ancestors who dwelled. Here, the artist is not merely a producer of images but a navigator of the fold–a presence that troubles the line between subject and symbol,between body and image, between now and what came before. The work becomes an estuary–fluid, intermingled, a confluence of memory, perception, and material. It is here that the artists thrive: in the interstitials, the bends of time, the folds of selfhood, and the architectures of power.
In this exhibition, the phrase signals not lateness or delay, but the intensity and immanence of Black presence within institutional temporality. Malcom Tariq’s poetic language envisages a cosmographic projection of “the bottom” as a place of becoming, imagining, building, and entering. Entrusting the reader with heeding the hollow, we’re invited to join, from the nadir, a world previously shaped by those ancestors who dwelled. Here, the artist is not merely a producer of images but a navigator of the fold–a presence that troubles the line between subject and symbol,between body and image, between now and what came before. The work becomes an estuary–fluid, intermingled, a confluence of memory, perception, and material. It is here that the artists thrive: in the interstitials, the bends of time, the folds of selfhood, and the architectures of power.