Command of Evidence SAT question

Choice B is the best answer because it presents a finding that, if true, would most directly support the arts journalist’s claim about Enwezor’s work as a curator and art historian. In the text, the arts journalist asserts that Enwezor wished not just to focus on modern African artists but also to show “how their work fits into the larger context of global modern art and art history,” or how their work relates to artistic developments and work by other artists elsewhere in the world. The description of Postwar: Art Between the Pacific and the Atlantic, 1945–1965 indicates that Enwezor and Siegel’s exhibition brought works by African artists together with works by artists from other countries, thus supporting the arts journalist’s claim that Enwezor sought to show works by African artists in a context of global modern art and art history.

Choice A is incorrect because it describes a retrospective that wouldn’t support the arts journalist’s claim that Enwezor wanted to show how works by modern African artists fit into the larger context of global modern art and art history. The description of El Anatsui: Triumphant Scale indicates that the retrospective focused only on the work of a single African artist, El Anatsui. The description doesn’t suggest that the exhibition showed how El Anatsui’s works fit into a global artistic context. Choice C is incorrect because it describes an exhibition that wouldn’t support the arts journalist’s claim that Enwezor wanted to show how works by modern African artists relate to the larger context of global modern art and art history. The description of The Short Century: Independence and Liberation Movements in Africa, 1945–1994 indicates that the exhibition showed how African artists were influenced by movements for independence from European colonial powers following the Second World War. Although this suggests that Enwezor intended the exhibition to place works by African artists in a political context, it doesn’t indicate that the works were placed in a global artistic context. Choice D is incorrect because it describes an exhibition that wouldn’t support the arts journalist’s claim that Enwezor wanted to show how works by modern African artists relate to the larger context of global modern art and art history. The description of In/sight: African Photographers, 1940 to the Present indicates that the exhibition was intended to reveal the broad range of approaches taken by African photographers, not that the exhibition showed how photography by African artists fits into a global artistic context.