A wave of cultural Pan-Africanism has swept the nation and become a ubiquitous phenomenon for all to experience. Prom 2016, for instance, deviated from the standard solid colors, sequins, and glitter to include dresses made of African cloths with colorful, vibrant prints; and black girls have become more respected for the natural curly hair that is akin to their culture than they were twenty years ago. This freedom of expression is reflected in Derrick Adams’ exhibit “ON!”, in Pioneer Works, Brooklyn (on display June 10th through July 17th); which is a collection of pieces that express black culture.

“ON!” starts with a looping clip of presumably intellectual African Americans engaging in a conversation and advertising products, and is followed by several rooms with different themes. The first room I walked through was interactive, and consisted of nine vintage-style televisions made of fabric that were hung along the walls. The screens of said televisions were made of pieces of tribal pattern fabrics sewn together, and in front of these televisions were small lamps that cast light upon small chairs, tables, and beds that guests could take pictures in. Following this room was a collection of smaller vintage televisions on the walls, and the room itself was filled with a crowd of nine mannequins of sorts – wigs with African hairstyles such as cornrows and box braids set upon lamps that a viewer could switch on and off, and decorated with beaded jewelry that embodied the African standard of beauty.

The third room I entered featured another giant vintage television, this time on its own. For this piece, Adams abandoned the African cloths in favor of vibrant solid colors as a mount for the nine night lights with miniature paper advertisements he displayed. There were nine yoga mats in front of the television as well, transforming the room into yet another interactive segment.

“ON!” exposes the face of beauty behind the stereotypes that have been inflicted upon blacks by showing them on a screen and utilizing subsequent displays that encompass black intelligence and beauty. The concept, although well planned and intriguing, is not completely new. The presentation of the concept, however, is devoid of unoriginality and very aesthetically pleasing. While the size of the artwork, as well as repetition of symbols adds to the collection’s grandeur, it is quite unimpressive considering the ability it takes to create such an exhibit. After you absorb the vibrancy of the exhibit, the energetic prints, and the passion Adams clearly poured into his work, it seems that anyone with the time, money, inclination, and the ability to sew can recreate the exhibit. After a certain point, it seems that Adams abandoned the idea of art for art’s sake, art for money, or even art as a display of talent. He chooses simplicity over extravagance, the message over any profit from his artwork.