The exhibition continues an ongoing collaboration between Wassaic Project and Troutbeck, rooted in a shared commitment to supporting artists, fostering public engagement, and advancing cultural exchange in the Hudson Valley. Together, both institutions have cultivated a space where contemporary art, history, education, and community are brought into active conversation, extending the legacy of creative and civic exchange that has defined both places. In Echoes in the Margin, Delano Dunn reimagines how Black identity and desire have been shaped and seen, and what it might look like to see them anew.

Curator Mickalene Thomas writes:

The work of Dunn unfolds as a layered meditation on memory, identity, and the unstable terrain of historical narrative. The presentation brings Dunn’s distinct visual language into dialogue with a site long shaped by cultural exchange, intellectual gathering, and the complexities of American history.

Dunn’s practice draws from a vast personal archive of found imagery culled from advertisements, art history, and vernacular photography which he reassembles into densely composed paintings and collages. These works operate as both excavation and intervention. Figures emerge, dissolve, and reconfigure across his surfaces, refusing singular interpretation. Through this process, Dunn disrupts conventional hierarchies of representation, foregrounding how Black identity, desire, and presence have been constructed, consumed, and often obscured.

A gathering place for writers, artists, and thinkers for over two centuries, Troutbeck has been a place of literary community, civil rights organizing, and encounters between some of the most consequential figures in twentieth-century American life. The estate hosted the landmark Amenia Conferences of 1916 and 1933—pivotal early NAACP gatherings organized by W.E.B. Du Bois and hosted by Joel and Amy Spingarn, with Joel serving as Chairman of the NAACP Board. Over the years, Troutbeck also drew writers, artists, and thinkers including Thurgood Marshall, Langston Hughes, Zora Neale Hurston, Sinclair Lewis, and Lewis Mumford to its grounds. Today, Troutbeck operates as a celebrated historic estate hotel, and through its ongoing partnership with Wassaic Project, serves as a living site where that history and contemporary art continue to meet.

In her curatorial statement, Thomas continues:

At Troutbeck, these concerns resonate with particular clarity. The site itself, steeped in histories of retreat, discourse, and privilege, becomes an active context for Dunn’s reimagined narratives, reframing from its archive. His works challenge the presumed neutrality of such spaces, inserting bodies and stories that complicate inherited frameworks of belonging. What is remembered here, and what has been omitted? Dunn’s compositions ask viewers to sit within that tension and take it in.

Delano Dunn’s work amplifies these inquiries, emphasizing materiality, sensuality, and the politics of looking. My longstanding engagement with representation and Black subjectivity finds a compelling counterpart in Dunn’s improvisational, collage based approach. Together, our perspectives shape an exhibition that is both intimate and expansive, attuned to the personal while insistently addressing broader cultural histories.

Rather than offering resolution, Dunn invites a kind of active viewing: one that embraces fragmentation, contradiction, and multiplicity. In this space, images are not fixed but in flux, charged with the possibility of being re-seen, re-read, and reimagined.

Special thanks to Montague Contemporary.

Artwork: WEB DuDois, 2026
Paper, wood, wallpaper,, shoe polish, spraypaint, enamel paint, on board, 24 in x 18 in

About Delano Dunn

Delano Dunn (born 1978 in Los Angeles, California) uses painting, mixed media, and collage to explore questions of racial identity and perception, drawing from his experience growing up in South Central L.A. He has had solo exhibitions in New York City, Los Angeles, and Paris, with Montague Contemporary, Bermudez Projects, among others. Group exhibitions include Places & Spaces at Fredrichs’ Pantone Gallery, All That Light: A Ten Year Retrospective of The AIR Program (2012-2022) Logan Center, The Uptown Triennial 2020 at the Wallach Gallery Columbia University , I Like The Sound of That at Artspace in New Haven, Liberty and (in)Justice for All at Project for Empty Space in Newark, NJ, PULSE New York, PULSE Miami with Project for Empty Space and The Long Gallery Harlem, The Delaware Contemporary, and more.

Features and interviews include The New York Times, Le Monde, White Hot Magazine, VICE Creators, Black Lives Matter, and ArtNoir. Reviews include Hyperallergic and VICE Creators among others. Dunn has received grants and awards from the Darryl Chappelle Foundation, the Sustainable Arts Foundation, the College Art Association, the Delaware Contemporary, and more. He has completed residencies at The Wassaic Project, the University of Chicago’s Arts + Public Life, Central College, Illinois State University, Project for Empty Space in Newark, NJ, and SPACE at Ryder Farm. His works are in such public collections as the Studio Museum of Harlem, New York City Public Art for Public Schools, along with numerous private collections.

Dunn holds an MFA in Fine Arts from the School of Visual Arts and a BFA in Illustration from Pratt Institute. He is an Assistant Professor at the School of the Art Institute of Chicago and serves on the board for the Wassaic Project in New York. Dunn lives in Oak Park, IL with his wife and two children.

About Mickalene Thomas

Mickalene Thomas debuts her first curatorial exhibition in collaboration with the Wassaic Project at the historic Troutbeck Inn in Amenia, New York. The exhibition features works by Delano Dunn under the title Echoes in the Margin, marking a continued expansion of Thomas’s curatorial practice, which spans more than 15 exhibitions and projects across museums, galleries, and independent spaces over the past two decades.

Her curatorial work includes notable exhibitions such as the upcoming The Secret Life of Plants at KuBe Art Center in Beacon, co-curated with Derrick Adams; The Brooklyn Artists Exhibition at the Brooklyn Museum; and Brand New Heavies, first presented at Collette Blanchard Gallery in 2009 and later at Pioneer Works in 2021. She also developed the long-running, multi-venue exhibition MUSE: tête-à-tête, Aperture, which has been presented at major institutions across the United States, including the Henry Art Gallery, the Dayton Art Institute, and the Virginia Museum of Contemporary Art, among others.

Thomas is a globally celebrated multidisciplinary artist renowned for her spectacular rhinestone-studded portraits that boldly reimagine representations of Black Life in contemporary art. Working across painting, photography, collage, video, and installation, she creates vibrant, layered compositions that explore complex themes of race, gender, identity, sexuality, and beauty. Her visual language draws from Black aesthetics, African textiles, domestic interiors, personal histories, and iconic moments in art history. By referencing figures such as Romare Bearden, Faith Ringgold, Matisse, and Manet, she both honors and disrupts the Eurocentric art canon, placing empowered images at the center.

Beyond her studio practice, Thomas is a visionary curator, mentor, and educator. She actively supports emerging artists—through mentorship, community engagement, and inclusive curatorial work. She co-founded Pratt>Forward, a postgraduate professional development program, and serves as creative director of Art Arena, a media group that connects artists, athletes, and brands to create impactful cultural experiences. Mickalene Thomas continues to break boundaries and elevate underrepresented voices through her bold visual storytelling, cultural leadership, and unwavering commitment to justice and representation.