This exhibition offered a focused look at Mildred Howard’s wide‑ranging artistic practice, bringing together works that examine memory, identity, and the ongoing impact of social and racial injustice. Through materials such as glass, fiber, collage, found objects, and installation, the presentation highlighted Howard’s ability to transform everyday items into complex visual narratives that reward close attention.

Several early works reflected her engagement with the African diaspora and her interest in how personal and familial histories shape one’s sense of self. These pieces often incorporated objects tied to her own family’s migration story, blending personal artifacts with found materials to create layered, tactile compositions. The exhibition also included examples of her experimental Xerox works from the late 1970s, when she used color copiers as creative tools to produce bold, high‑contrast images and innovative self‑portraits.

A central work in the exhibition, Ten Little Children Standing in a Line (One Got Shot, and Then There Were Nine), addressed the 1976 Soweto Uprising in South Africa. The installation’s orderly grid structure initially appears balanced, but its construction from thousands of spent bullet casings introduces a stark tension between visual harmony and the violence it references. This interplay between beauty and unease is a hallmark of Howard’s approach.

Other featured works, such as Parenthetically Speaking… It’s Only a Figure of Speech and You Are Welcome Here, explored language, architecture, memory, and cultural symbolism through sculptural glass forms and hybrid structures. Together, the works underscored Howard’s ability to connect personal experience with broader historical narratives, creating art that is both intimate and universally resonant.