In the wake of the 2020 racial justice movements, the art world saw a surge in interest in Black artists and their work. Institutions and collectors alike rushed to acquire pieces, leading to record-breaking sales and increased visibility for Black creatives. However, this momentum has proven to be short-lived.

The concept of "Black fatigue," as introduced by Mary-Frances Winters, refers to the chronic exhaustion experienced by Black individuals due to systemic racism. Now, this term is being misappropriated by some in the art world to express a supposed weariness of Black narratives and representation. This reframing shifts the focus from the genuine struggles of Black communities to a narrative that suggests society is overwhelmed by Black visibility.

This strategic pivot allows institutions to retreat from their commitments to diversity under the guise of seeking balance or avoiding overexposure. The initial surge in support appears more as a performative act rather than a genuine effort to address longstanding inequities.

Artists like Thomas J Price, whose sculpture "Grounded in the Stars" was displayed in Times Square, face criticism not for the content of their work but for their mere presence in prominent spaces. Such reactions highlight the discomfort some feel with Black visibility, further emphasizing the need for sustained support rather than fleeting attention.

The art world's challenge lies in moving beyond performative gestures to embrace genuine inclusivity. This requires a commitment to supporting Black artists not just in moments of heightened awareness but consistently, ensuring their voices and stories are integral to the cultural narrative.

Source:
Hyperallergic – Manufacturing “Black Fatigue” in the Art World