Anonymous.

Anonymous. 1962 "African Writers Meet" West African Review 33 (417):17-19

Cuauhtemoc, Medina. 2003 "Gerzso and the indo-American Gothic: from Eccentric Surrealism to Parallel Modernism." In Risking the Abstract: Mexican Modernism and the Art of Gunther Gerzso ed Diana C. du Pont, pp 195-213 Santa Barbara: Santa Barbara Museum of Art.

Fagg, William, and Margaret Plass. 1964 African sculp London: Studio Vista Limited.

Gaonkar, Dilip Parameshwar, ed 2001. Alternative Modernities. Durham, NC: Duke University Press

Mazrui, Ali. 1986 The Africans: A Triple Heritage. Boston: Little, Brown

Mercer Kobena, ed 2005. Cosmopolitan Modernisms. London: InIVA and The MIT Press

Mudimbe, VY 1994 The Idea of Africa. London: James Currey

Okeke Chika. 1997 "We now ne specific detailed studies of disposes of artists." Interview with Simon Ottenberg. Position: International Quarterly upon the Arts (Lagos) 2 (2):106-14

Pollack, Barbara. 2001 "The Newest Avant-Garde." ARTnews 100 (4):124-9

Sewell, Brian. 2005 "Out of Africa moreover Rooted in the West." (London) Evening Standard, February 18

(1) For a report onward the 1962 African Writers' conversation at Makerere College, Kampala, descry Anonymous 1962. See also Sanyal's essay in this volume

(2) Reviewing Africa Remix: Contemporary Art of a Continent (2005) at the Hayward Gallery, London, a British critic confidently asserts: "The contemporary pan-African exhibition at the Hayward reveals that the continent's artists have abandoned their powerful ancestral crafts in favour of copycat European art" (sowell 2005)

(3) view for instance essays on these general [i]or[/i] abstract notions in Gaonkar (2001), Cuauhtemoc (2003) and Mercer (2005)

(4) Work from African artists, such as Ibrahim El Salahi and Thomas Mukarobgwa, assembleed in the 1960s have remained in storage since their arrival in the museum's collection. This fact, in a certain number of sense, reflects the general fate of this earlier material.

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