Arts and Eats

Review: Throughline Vol. II - An Immersive Art Experience

Portraits, photographs, and poems celebrate 16 Black women in D.C.

India Kea

India Kea

— 5 min read
Review: Throughline Vol. II - An Immersive Art Experience
Portrait of Angel Gregorio of The Spice Suite, painted by Taylor Smalls. (India Kea)

On Saturday, Nov. 30, I ventured to Autoshop, a striking industrial space in Union Market, for the second weekend showing of Throughline Vol. II — an exhibit honoring Black women who are shaping D.C., inviting audiences to share in the celebration of their legacies.

Ornate doors opened to a candlelit staircase, setting a mood of quiet anticipation. At the top, attendees were greeted by a black and white painting — a figure of a woman with long cornrows flowing down her back, her face obscured but her beauty palpable. The atmosphere was immediately welcoming, with some of the featured artists personally collecting coats and offering bourbon cocktails — so strong that my plus-one discreetly handed hers over for me to finish.

Vibrant, large-scale portraits of Black women adorned the venue’s walls. The works were rendered by Oakland-based painter Taylor Smalls, who conceptualized Throughline alongside creative producer Xavier Rernard Cunningham. Billed as an “immersive experience,” attendees paid a hefty $165 for the evening, which included the art exhibit, live performances, and a 7-piece tasting menu. 

Conceived as a celebration and homage to the indelible impact of Black women, the portraits featured 16 D.C.-based changemakers such as Angel Gregorio of The Spice Suite, Kelsye Adams of DC Vote, and Marjuan Canady, a multi-talented artist and advocate. The Throughline team, which is based in the San Francisco Bay area, consulted over 40 local organizations to select honorees — each chosen for their irreplaceable role in their community, underscoring the city’s abundance of unsung heroes.

The exhibit’s first iteration (Throughline Vol. I) took place last winter in Oakland and drew inspiration from historic artistic collaborations like James Baldwin and Nina Simone. Smalls and Cunningham sought to create a multi-disciplinary art show that embodies what happens when artists unite under a shared vision. Other collaborators include photographer Adedayo Kosoko, poet Michael Wayne Turner III, Chef Jordan “Keem” Hughley, and vocalist Gabrielle Hight. 

Black and white photos of women are hung on a brick wall.
Group photos of honorees, shot by Adedayo Kosoko. (India Kea)

Smalls' portraits were paired with installations of Turner’s evocative poems, each line invoking the wide range of sensuality and complexity he gleaned from honorees. Kosoko’s photography complemented the portraits with individual and group shots of the women — portraying them in tender, light-filled moments gushing with intimacy and grace.

The center of the room featured a cozy, intimate setup: sheer curtains surrounded soft white carpets and low-set chestnut couches, creating a communal space where guests gathered after viewing the exhibit. Neo-soul melodies by Cleo Sol seamlessly transitioned to 70s classics, catering to the intergenerational crowd of guests who sipped craft cocktails by Andra “AJ” Johnson — beverage director at Serenata inside La Cosecha Market — and indulged in bites from Hughley, a James Beard nominee and owner of Bronze on H Street NE.

A man in a suit, bowtie, and orange at points his finger to the ceiling, appears to be speaking.
Michael Wayne Turner III reciting poems inspired by honorees. (Courtesy of Throughline Vol. II)

The program portion of the evening began about an hour and a half after doors opened with a greeting from Cunningham. Then Turner led the crowd on a tour of the exhibit, where he offered a theatrical recitation of each poem — his voice commanding the room with the cadence of a preacher. As he journeyed to each piece, guests joined him in his soulful refrain: “Maybe, you’ll join me down by the river, so I may wash away all of my pride.” In that shared moment, admiration replaced pride, acknowledging the honorees' humanity alongside their accomplishments.

After Turner’s performance, guests settled inside the sheer curtains, where additional seats were added and red lighting set the tone for Hight’s musical set. Wearing a cozy hat, her small frame belied a powerful voice that captivated the audience, each song an offering to the Black women honored and those in the room. 

A portrait of a smiling woman in grayscale against an olive backdrop.
Portrait of creative strategist Chloe Dulce Louvouezo, painted by Taylor Smalls. (India Kea)

Reflecting on the evening, Cunningham tells The 51st in an interview: “I really hope more than anything, they were like, man, this was an experience and these people really showed up for community ... Hopefully, it's a little bit of a love language to D.C.”

For all its striking imagery and heartfelt performances, the exhibit did leave me questioning the depth of its connection to its subjects — none of whom attended the showing, which is set to run every Saturday and Sunday for five weeks. Before opening night, Cunningham says the honorees viewed the exhibit privately. “We wanted that to be a moment where they felt truly comfortable to have whatever emotion that they could. And I think, consistently, it was joy,” he says. 

But requiring at least some of them to engage with guests each weekend could have fostered a closer relationship between the audience and the honorees, whose presence was deeply felt but whose stories felt partially told. 

The exhibit did succeed in highlighting the artists' reverence for the women and the transformative impact they’ve had on the District. Looking ahead to his next stop in Detroit, Cunningham expressed excitement about the exhibit’s evolution. “Nothing that is done here is set in stone. I’m always excited to make this better,” he says. “I really want this to be a moment where the people feel good.”

Throughline Vol. II will be on exhibit at Auto Shop in Union Market until December 22, 2024. Grab your tickets here. 

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