"The art world is white. In this volume, contributors from different disciplines and backgrounds discuss race, diversity, and inclusion through the lens of "saturation," in art and across institutions written large. The concept of saturation stems from color theory-for Isaac Newton, the centrality of the color white to his visual theory parallels an understanding of race as its periphery in Western thought. From visual saturation to oversaturation of the bodies of minorities as they have to navigate and exist within institutions, this volume employs saturation as a rubric to ask different questions and to push us to demand more from the ways institutions normatively function and how race has come to be imagined and understood. The essays and conversations are the result of a shared curiosity over why changes in representational practices (some at very early stages of saturation and others leading to oversaturation) have not led to any substantive structural change. Much of this book contends with political economy and racial capital to help grapple with institutional critique. Because of the need to center these questions in time and space, the book is organized in two major sections: 1) The Saturation of Institutional Life: Race, Globality, and the Art Market; and 2) Methods of Racial Matter and Saturation Points. This is the forth volume in the New Museum Critical Anthologies in Art and Culture series.

It includes Sarah Haley's essay on the relationship between carceral landscapes and the gendered dimensions of racial capitalism, a conversation between philosophers Denise Ferreira da Silva and Phanuel Antwi moderated by coeditor C. Riley Snorton, about modes for thinking race transnationally and in terms of structures-material, poetic, and affective. In artist Candice Lin's chapter on aesthetics of colonization, she discusses how histories of colonial violence inform her artistic practice. Sarah Schulman highlights the dynamics of navigating the publishing industry as it relates to areas considered "niche" like sexuality, race, and gender. Performance and movement theorist Jasmine Elizabeth Johnson examines the corporeal, visual, and institutional structures that delimit the legibility of the black body, and artist Byron Kim contemplates his practices and methods as they relate to formalism that simultaneously is and is not "about" race"--.