 Described as veering "between the flashy and the subdued," the exhibition grappled with Black identity through a complex interplay between past and present.Melissa Gronlund, writing for "frieze", saw the exhibition as an overly-ambitious attempt at referencing particular histories and racial stereotypes.Its aesthetic qualities, in her eyes, did not always reinforce the artistic sincerity of the work; Gronlund found more melancholic artists to be more genuine in their uses of a "craft aesthetic."