“When it comes to defending Barack against the charge that he’s not Black enough, I tell folk, ‘Well, I’ve know him for over fifteen years, and what I’ve noticed is that he’s proud of his race, but that doesn’t capture the range of his identity. He’s rooted in, but not restricted by his Blackness'”
— Michael Eric Dyson in the forword of “Who’s afraid of Post-Blackness” by Touré.

In her inaugural lecture on nov 18, 2014 at Witte de With Center for Contemporary Art, Rotterdam, Nana Adusei-Poku stated the following:

“”Post-black” [art] is an attempt to describe a younger generation of artists, who are not concerned with discussions of race or identity, but nevertheless draw on the history and the artistic styles of their predecessors, while introducing styles which had been neglected during the 1990s. (Bey 2004). What is important to highlight here is that “post-black” is not the same as “post-racial”, nor can it be compared to the trendy and inadequate term “New Black”. (Adusei-Poku, 2014) p.10

… a critical comment on how one can get stuck in the identity conciousness one describes to oneself- it can become a comfort zone, but it is a comfort-zone that is static. The generation of artists who have been called “post-black” did not only claim the space to be a artist; they also redefined and opened up questions beyond the dualism of Black and white, though their main reference point remains Black art and culture. (Golden 2001)” (Adusei-Poku, 2014) p.24

Examples of post-black artists: Mark Bradford, Hank Willis Thomas, Mickalene Thomas.