Philip Kennicott | The Washington Post | 15th July 2016
Kehinde Wiley’s prominent travelling retrospective is generating heated views wherever it goes. His images put contemporary black males in heroic poses borrowed from the Great Masters. Is this a commentary on racial politics? Is his work formulaic? This writer takes aim elsewhere. Some of the small scale portraits are “simply fine” but other works “feel as confected and disposable as a good pop song”.