"Parralleling in some ways the recent surge of figurative expressionism, Saar's work has come into its own in a period increasingly attuned to the visions of African- American artists. The artist, who readily admits to never having had a life-drawing class, balances this exploration with conventions from African, classical and religious art and the found object tradition in modernism. Like Joyce S. Scott's beaded figures, David Hammons's installations of reconstituted trash, her mother's and Renee Stout's fetishistic assemblages, Martin Puryear's poetic objects, and Houston Conwill's monastic floor installations, Saar's work is syncretic, open-ended, and not easily categorized

-Sidney Lawrence Curator, Hirshhorn Museum and Sculpture Garden Smithsonian Institution, Washington D.C.

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