The Lost World: The Art of Minnie Evans presents a comprehensive selection of works by Minnie Evans, an artist widely celebrated for her visionary approach and deeply personal visual language. Often working on found or unconventional materials such as paper, cardboard, and envelopes, Evans created compositions overflowing with vibrant color, rhythmic pattern, and symbolic imagery. Her drawings and paintings feature recurring motifs—eyes, flowers, butterflies, angels, and hybrid figures—that suggest spiritual awakening, natural abundance, and cosmic interconnectedness. Evans described her work as divinely inspired, rooted in dreams and inner visions rather than formal artistic training. Although she began producing art later in life while working as a gatekeeper at Airlie Gardens in Wilmington, North Carolina, her work gained national recognition and has since been positioned within broader histories of American modernism, self-taught art, and spiritual abstraction. Organized by the High Museum of Art, The Lost World: The Art of Minnie Evans situates Evans’s practice as both deeply individual and universally resonant, inviting viewers into a richly imagined realm where spirituality, nature, and creativity converge. The exhibition runs through October 12, 2025, at the High Museum of Art, 1280 Peachtree Street NE, Atlanta, Georgia.

Gordon Parks: The South in Color presents 42 photographs by Gordon Parks from his Segregation Story series, alongside a new portfolio published by The Gordon Parks Foundation. Working in photography, Parks documented the segregated South in 1956 with images that reveal both the violence of Jim Crow and the dignity, resilience, and everyday lives of Black communities. Jackson Fine Art, 3122 East Shadowlawn Ave NE, Atlanta, GA 30305. April 2, 2026 — Runs through June 13, 2026. Organized in partnership with The Gordon Parks Foundation, the exhibition marks the 70th anniversary of the publication of Parks’s images of the segregated South in Life magazine and the 20th anniversary of the foundation. It brings together photographs not previously shown at the gallery with some of Parks’s best-known images, offering a renewed look at a body of work that remains central to the visual history of race in America. Curated by Dawoud Bey, the exhibition is presented in connection with the foundation’s yearlong celebration of Parks and his influence on later generations of Black artists and writers. By foregrounding Parks’s use of color photography, The South in Color underscores the visual poetry and human complexity of scenes made in and around Mobile, Alabama, expanding how viewers understand the artist’s engagement with segregation, witness, and representation.