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Art, in all its forms, serves as an archive. I was reminded of that during a just-opened exhibit in Detroit’s Carr Center, Bridges, Because of Them, which honors the city’s artistic past while uplifting its present creative minds.
The show may be one of my favorite exhibitions I’ve ever attended, if not number one.
Curated by a multigenerational team including Detroit Fine Arts Breakfast Club founder Henry Harper, who is in his late 70s, alongside Gen Z artist Andre Reed Jr. and local art buyer Kendale L. Jones, the exhibition pairs historic works from Detroit collectors with pieces from the city’s new generation of fine artists.
In keeping with the Carr Center’s mission to spotlight African and African American art, much of the exhibition highlights Black artists and narratives—celebrating identity and the beauty of shared culture.
“Historic pieces from collectors stand in dialogue with contemporary creations, revealing the threads of resilience, power, and imagination that bind them,” a sticker on the show’s first wall reads. “Together, they form a living bridge — inheriting the past while building the future we now create.”
This contrast proved even more powerful than I could have imagined.
In the second gallery room, near the words “Honoring the Past,” a piece titled Don’t Let Your Dreams Be Dreams stood out to me.
The painting by Henry Heading depicts Jack Johnson, the first African American to win the heavyweight boxing title in 1908. While the quote “Don’t Let Your Dreams Be Dreams” is most often associated with Shia LaBeouf’s viral 2015 speech, it actually traces back to Johnson himself.
The black-and-white realism of the portrait is striking. What truly caught my attention was the frame. It includes three real ropes stretched across Johnson’s torso, with boxing ring pieces and gloves affixed to the sides—turning the entire piece into a sculptural tribute.
It’s priced at $40,000.
At first, I thought there were only two gallery rooms, until I noticed people moving toward an area of the building I hadn’t explored before the one other time I visited the Carr Center. Through a hallway behind the second room, a third and larger space was packed with attendees and filled with the sound of speeches from the curators.
This room featured mostly contemporary art, including pieces by several artists I’ve seen frequently at shows over the past few years.
One of the coolest parts about this room, however, was the lighting.
Each artwork was illuminated by its own spotlight, and as the lights subtly changed in color and brightness, different parts of the pieces came to life—creating a dynamic, immersive experience.
One of my favorite contemporary works in this room was by Oshun Williams.
The painting, seemingly untitled, portrays a man standing in front of a liquor store wearing a Detroit Bad Boys jersey and a Pistons cap. A Detroit “D” patch on the back and a “Detroit City” patch on the sleeve are real, textured additions that make the otherwise two-dimensional piece feel tangible.
As the lighting shifted, the work transformed—from mostly black and white to a vivid scene illuminated by a bright red “Liquor Beer Wine” sign and a soft blue sky.
While new, it’s clear that this piece will be timeless, as it is a vivid representation of everyday Detroiters who never fail to rep their city.
Another standout for me was Gold & Gasoline by Aya Hasan, the 25-year-old founder of the Dearborn Fine Arts Club. The painting beautifully merges modern and traditional elements: Arabic lettering, a camel with a gold grill, and a man in traditional Middle Eastern attire sporting a gold chain, all set in a gas station parking lot.
Priced at $2,000, the piece feels iconic, especially in Metro Detroit, home to the largest Middle Eastern population in the country.
What I loved most about Bridges, Because of Them was how each piece, whether decades old or created this year, carried elements of past, present, and future, making every work feel timeless in its own sense.
The exhibit reminded me of the importance of art and makes me even more appreciative of the community of artists in Detroit that are willing to work together to create something so special.
The only thing I remember from the speakers was that whoever I heard talking told the audience to keep coming back and bring friends so this show can reach as many viewers as possible.
I couldn’t agree more.
I strongly encourage everyone to go see it. You have time and you will not regret it!
Published in conjunction with Midbrow.
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