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This article addresses ‘modern’ and ‘contemporary’ as two distinct categories in African artistic practices and art history. It engages with exhibitions as sites of knowledge production and examines how they construct narratives of artistic modernism, modernity, and contemporaneity. By focusing on the Tendances et Confrontations exhibition, at the Premier Festival Mondial des Arts Negres Dakar in 1966, and Dak'Art biennials since 1992, it explores the role of the two exhibition platforms in shaping artistic practices and discourse in two moments in African art and history in the last 50 years. The article also places particular emphasis on the interpretation of artworks in Tendances et Confrontations and Dak'Art to outline a transformation in artistic practices and knowledge production.
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Ugochukwu-Smooth C. Nzewi (2013) studied this question.
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