Throughout the late 1980s and early 1990s, a radical cultural scene emerged in cities across the globe, finding expression in the galleries, nightclubs, and bedrooms of New York, London, Los Angeles, and Rome.

In Lyle Ashton Harris: Today I Shall Judge Nothing That Occurs, the artist’s archive of 35 mm Ektachrome images are presented alongside journal entries and recollections by contributors, coalescing in a presentation of what Harris has described as “ephemeral moments and emblematic figures . . . against a backdrop of seismic shifts in the art world, the emergence of multiculturalism, the second wave of AIDS activism, and incipient globalization.”