Yinka Shonibare's work is so multi-dimensional: race, class, colonialism, post-colonialism, globalisation, personal and cultural identity are just some of the themes I can think of that are explored in the 2004 Turner Prize nominee's sculptures, film and photography. Of the latter, five were on display in Addio Passato, Shinobare's recent solo exhibition at James Cohan Gallery, New York. The large-scale, color chromogenic prints, all ornately framed, reimagined famous historical death scenes with new characters dressed in the artist's costumes, which were on view in the same space. Shonibare's ability to effectively call attention to the parallels between the past and present through iconic theatrical narratives makes him one of the most relevant voices in contemporary photography and perhaps this is why his work has recently been seen in / is coming to so many places. In addition to his New York show and the solo exhibition Yinka Shonibare, MBE, which traveled from Alcalà 31, Madrid to Centro Atlantic de Arte Moderno, Canary Islands, his work has been included in group exhibitions at the Whitechapel Gallery, London, Smithsonian, National Museum of African Art, Washington DC, Museum of Modern Art, Arnhem, Whitworth Art Gallery, Manchester, Smiths Row, London, National Craft Gallery, Kilkenny, New Walk Museum & Gallery, Leicester, Frist Center for the Visual Arts, Nashville, Winnipeg Art Gallery, Manitoba and Glenbow Art Museum, Calgary. (Yes, a very long list.)

Image: Yinka Shonibare MBE, Fake Death Picture (The Death of Chatterton - Henry Wallis), 2011, digital chromogenic print, framed: 58 5/8 x 71 1/4 in. (148.91 x 180.98 cm) Courtesy the artist and James Cohan Gallery, New York / Shanghai. (c) Yinka Shonibare MBE