“I am interested in transformation and artifice. My newest exhibition will engage with the history of France and its outward facing relationship to black and brown bodies, specifically relating to sexual proclivity. Gauguin features heavily in the imagination of France and her global interface – with that comes an entire history of complicated gazing. I interrogate, subsume, and participate in discourse about Mh, about France, and about the invention of gender.”

– Kehinde Wiley, 2019

For his first Parisian exhibition since the 2016 show at Petit Palais, Kehinde Wiley unveils a new series of paintings and a video-installation based on his time spent the year prior in Tahiti.

Wiley’s new works are focused on Tahiti’s Mh community, the traditional Polynesian classification of people of a third gender, between male and female. The Mh were highly respected within their society until they were banned by Catholic and Protestant missionaries. Wiley’s portraits of beautiful, transgender Tahitian women reference and confront Paul Gauguin’s celebrated works, which also feature subjects from the transgender community, but are fraught with historical undertones of colonialism and sexual objectification. Building off of Wiley’s earlier portraits that addressed issues of masculine identity and virility, these new portraits explore issues of identity through the lens of transformation, exploring both artifice and artificiality as a trans-cultural phenomenon.

Wiley’s encounter with Tahiti joins with the artist’s continued journey across the contemporary world, following his explorations of North America, South Asia, and West Africa. Wiley’s focus on Tahiti now offers the opportunity to re-examine France, its colonial history, and its image through the prism of Gauguin’s work. True to his oeuvre, this exhibition presents a uniquely political and aesthetic perspective on the power of art to shift perception and to make visible history’s forgotten figures.


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