McArthur Binion (b. 1946, Macon, Georgia) lives and works in Chicago, Illinois.

Since the 1970’s, he has sought an alternative to minimalist art, through his personal philosophy of the pictorial grids fused with his archival belongings, such as the pages of his phone books, personal family photographs, or found documents from the history of the Afro-American community. Binion’s reduced combination of colors and forms enclose not only formal mastery but also layers of meaning, beginning with his search for modernist abstract painting’s legacy in relation to a wider context, that of the need of human society to leave traces of itself and, at the same time, to project itself into the future.

McArthur Binion’s work is strongly political, although very subtle. In fact, curator Lowery Stokes Sims once described Binion’s DNA series as ‘notions of selfa wareness and self- discovery, a conscious reflection on himself and to the historical discourse he has contributed to’. McArthur Binion’s 40-year career has been a continual investigation of abstract painting. The artist distinctive insertion of narrative and personal history and his emphasis on content differentiates his work from a more traditional minimalist practice. Binion’s works have been prominently included in the 57th International Art Exhibition – La Biennale di Venezia, VIVA ARTE VIVA, curated by Christine Macel.

Binion’s work is featured in several public and private collections including the Whitney Museum of American Art, New York; Studio Museum in Harlem, New York; San Francisco Museum of Modern Art, San Francisco; Metropolitan Museum of Art, New York; National Museum of African American History and Culture, Washington, DC; Cranbrook Art Museum, Bloomfield Hills; Detroit Institute of Art, Detroit; Institute of Contemporary Art, Boston; Kemper Museum of Art, Kansas City; Mississippi Museum of Art, Jackson; New Orleans Museum of Art, New Orleans; Strauss Family Collection, Santa Fe; Toledo Museum of Art, Toledo.