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Betye Saar's Black White, the first chapter of a two-part survey spanning both gallery spaces, reflects on how specific ideas are expressed through the descriptive qualities of black and white, affecting therelation of race within linguistic uses. Saar’s preoccupation with language – of its varying complexity applied via control, of its chaosand curiosity, the abstraction in both its use and unuse – is evident through her various methodologies. The works on view shift between being executed in monochromatic palettes, directly referencing either color in the title of the work, or interpreting the symbolism inherent within black or white categorization. Black White is an introduction, not a summary. An attitude, one characterized not by the tightness of an organizing principle, but by the looseness of its interpretation. The exhibition title fearlessly announces its defining ethos: the dimensional exploitation residing in the distinction drawn between white and black, and the prejudices attached to each condition. The employment of black, or white, connotes vivid associations, specifically emphasizing positive or negative designations: white light; white heat; white knight; white collar; whitewash;white flag; black humor; blacklist; black sheep; black magic; black death. Saar deconstructs the sociolinguistics of race as performance: illuminating how for many, language is used to disguise oneself, controlling how white or black one sounds. Additionally, the looseness characterizing the cultural borrowing of language implies an easy permissiveness, though only from one direction; even those who do not directly participate are implicated in this shared and shifting ownership.