NASHVILLE, TENN.- The Frist Art Museum presents This Face Behind This Mask Behind This Skin, a survey exhibition of recent work by Dr. Fahamu Pecou, an interdisciplinary artist and scholar whose work bridges hip-hop, fine art, and popular culture to examine contemporary representations in Black culture. Organized by the Frist Art Museum, the exhibition will be on view in the Frist’s Gordon Contemporary Artists Project Gallery from October 10, 2025 through January 4, 2026.
Through paintings, performance art, and academic work, Pecou confronts the social construct of Black masculinity and Black identity, challenging and expanding the reading, performance, and expressions of Blackness. This exhibition surveys his recent bodies of work End of Safety, Real Negus Don’t Die, and We Didn’t Realize We Were Seeds and debuts a multichannel video installation featuring his short Afro- Surrealist film The Store.
End of Safety addresses the tension between the imposition of Black American identity and the comfort it can bring. Works in this series such as Illusion, in which a figure is shrouded in a veil that obscures identity, ask what it means to step beyond comfort and imagine, as Pecou describes, “the delicate, dangerous, and necessary act of seeing ourselves free from the stories the world imposes.”
We Didn’t Realize We Were Seeds explores Black identity across time and cultures encompassing art, fashion, politics, and spirituality, and the use of Afrotropes recurring visual forms that have emerged within and become central to African diasporic visual culture. “Pecou exercises his agency as an artist not only by referencing Afrotropes, but by actively creating and reconfiguring them, giving these visual forms new life in contemporary culture,” writes Frist Art Museum Associate Curator Michael J. Ewing, “Durags become masks or crowns that adorn Black bodies. Backpacks rest on books as mobile altars of remembrance. Resin molds of Baule figures become surrogate sculptures of spiritual retention and contemporary sites for divine communication.”
A series of richly textured acrylic paintings titled Real Negus Don’t Die, begun in 2013, is an evolving tribute to iconic African American figures—including Toni Morrison, Afeni Shakur, and Tupac Shakur—whose lives and legacies continue to shape the rhythm and resonance of Black cultural identity. Negus, pronounced NAY-goos, is a word from the Amharic language spoken in Ethiopia meaning “king” and is offered here as a nonbinary term underscoring royalty. “Often mistaken for a slur, negus is deliberately deployed to disrupt, to dignify, and to declare, becoming fertile ground for liberatory reclamation,” writes Ewing.
Rooted in ancestral veneration, each painting features a living subject wearing a T shirt as a memorial. “These shirts, worn as mobile shrines to the iconic figures, become public affirmations of grief, love, and unbroken lineage,” Ewing explains. “They collapse time through the living subject, asserting that Black life cannot be flattened by death.”
The Store is a short film composed of four vignettes, each centered at a corner store where patrons unlock portals into surreal, liberating visions. The Store reclaims symbols of survival and reframes them as gateways to Black sovereignty, memory, and futures.
