A Curatorial Mission with an Inclusive Vision 

With a passion for unearthing hidden histories, US-based Iheanyi Onwuegbucha is transforming the contemporary African art landscape, one exhibition at a time. Okechukwu Uwaezuoke writes 

For Iheanyi Onwuegbucha, his guiding instinct—his pheromone of purpose, so to speak—can be summed up in one principle: giving credit where credit is due. Driven by this core conviction, he is on a quest to rebalance the art world’s narrative, shining a spotlight on its hidden gems—the unsung heroes who deserve their moment in the sun.

As a corroboration to this, all one needs is a cursory glance at his lustrous credentials. A curator based at Princeton University in the United States, Iheanyi Onwuegbucha is the mastermind behind the Kindred Spirits exhibition at kó Gallery in Ikoyi, Lagos, conceived to highlight the Aka Circle of Artists—a group of innovative trailblazers who have flown under the radar for far too long.

Concurrent with the groundbreaking Kindred Spirits exhibition, still ongoing at kó Gallery in Ikoyi, Lagos, until December 21, Onwuegbucha is diligently working on a comprehensive, landmark book project on the Aka Circle, which he deems “a long-overdue tribute to their legacy.”

“This definitive publication will delve deeper into the history, contributions, and enduring influence of the Aka artists, providing the recognition they deserve and valuable insights for scholars, artists, and the public alike,” he adds. 

Indeed, the works of this motley crew of 15 pioneering artistic young Turks have been hiding in plain sight while being woefully underappreciated. Spurred by this realisation, Onwuegbucha’s quest to right this artistic wrong, driven by his deep-seated passion, had been years in the making. “I realised this gap (among many others) during my research for my doctoral dissertation at Princeton University, and this is my attempt at bridging the gap,” the 34-year-old further explains. 

The Aka Circle, founded in 1985 by El Anatsui and Obiora Udechukwu, consisted of members, who were united by their love of material experimentation. Among its notable members were Tayo Adenaike, Chris Afuba, Chike Aniakor, Obiora Anidi, Ifedioramma Dike, Chike Ebebe, Chris Echeta, Nsikak Essien, Bona Ezeudu, Boniface Okafor, Chika Okeke-Agulu, Samson Uchendu, and Tony Umunna. 

As an eclectic bunch, they defied categorisation, pushing boundaries with their inventive mediums. Operating from Nigeria’s southeastern region, their influence knew no borders, leaving an indelible mark on the art world. “Artists like El Anatsui, Chris Echeta, Obiora Anidi, and Chris Afuba consistently demonstrated a restless curiosity in their exploration of three-dimensional forms,” Onwuegbucha continues. “They repurposed found objects, wood, metal, and often combined diverse materials in ways that redefined their craft.”

Beyond 3D innovations, Aka Circle members like Obiora Udechukwu, Tayo Adenaike, Nsikak Essien, and Chika Okeke-Agulu revolutionised two-dimensional media. Indeed, a retrospective review, from 1986 to 2005, offers substantial evidence of African contemporary innovation rooted in local experiences rather than in Western traditions.

Also, the collective’s bold sociopolitical commentary, particularly on postcolonial Nigeria, cemented their trailblazing status. Tied to the Nsukka School, Aka artists tackled these challenges with distinct flair. This exhibition (on view until December 21) honours their legacy, celebrating individual and collective achievements while uncovering the historical roots of material experimentation in contemporary Nigerian art.

If tracking down works by deceased Aka artists turned out to be no cakewalk, it is not due to their obscurity but rather no thanks to Nigeria’s unflattering woeful lack of proper art documentation. Gathering all 15 members’ works is a monumental triumph, overcoming this hurdle to highlight the remarkable breadth and depth of their collective legacy.

“I hope this exhibition inspires younger artists to carry forward the legacy of the Aka group by boldly engaging with the world around them, using their art as a lens for commentary and change,” Onwuegbucha adds. “For other visitors, I hope it provides a space to appreciate the depth and range of creative and thematic exploration presented here. Ideally, they’ll leave with a deeper understanding of how Nigerian contemporary art today is connected to and informed by these foundational movements and voices.”

Onwuegbucha’s curatorial odyssey began during his undergraduate years at the University of Nigeria, Nsukka’s Fine and Applied Arts Department. This was especially when it became evident that the absence of Western curators had left African artists in the shadows. “Back then, we often discussed how impactful it would be if Western curators visited our studio, opening doors for greater visibility and successful art careers,” he recalls.

However, Chika Okeke-Agulu’s visit and talk about his Who Knows Tomorrow initiative in Germany sparked Onwuegbucha’s passion. Rather than simply complaining about the dearth of African curators, Onwuegbucha saw this as a chance to promote emerging artists. 

Under Professor Onuora’s mentorship at the University of Nigeria, Nsukka, Onwuegbucha’s curatorial skills bloomed. He curated the convocation exhibition, featuring Uche Okeke’s works alongside those of his classmates, earning himself the Vice Chancellor’s commendation.

He returned to the University of Nigeria, Nsukka, for an MA in art history after his National Youth Service Corps programme. This was while he was concurrently working with the Life in My City Art Festival (LIMCAF) in Enugu as festival secretary. 

It was during his time at LIMCAF that a neat weaving of fate crossed his path with that of the late Bisi Silva, who became a guiding light in his acclaimed curatorial journey. Professor Onuora would invite him again in 2015 to co-curate the notable exhibition Anya Fulu Ugo, organised in conjunction with an international conference of the same name, honouring notably influential Nsukka artists, El Anatsui and Obiora Udechukwu.

During his initial curatorial position at the Thought Pyramid Art Centre in Abuja, Iheanyi realised that curating entailed more than organising exhibitions; it also involved generating discourse and scholarship around the art. Recognising his need for further training, he pursued an MA in Art Gallery and Museum Studies at the University of Leeds with a prestigious Chevening Scholarship. Afterwards, Bisi Silva invited him to join the Centre for Contemporary Art (CCA), Lagos, as an associate curator. Because under Silva’s mentorship he was able to refine his curatorial expertise, he seamlessly stepped into leadership of the Yaba, Lagos-based art space when her health concerns arose.

Concerned about the scarcity of accessible resources for African artists while at the CCA, particularly those active before the internet era, he decided to make his own contribution. Thus, researching Colette Omogbai became a pivotal moment. Now, he is driven to generate discourse, scholarship, and visibility for African artists, transforming local audiences from consumers to purveyors of information.

Reflecting on his work so far, the National Museum of African Art’s predoctoral research fellow wishes he had focused more on art’s impact beyond galleries. His curatorial philosophy now prioritises artists as essential to understanding their work, making art accessible to a broad audience, and recognising it as a reflection of society and artists’ experiences.

This approach begins with studio visits and extensive artist discussions, fostering a collaborative “co-creation” process. This ensures the final exhibition is a shared vision, where artists’ visions and societal impact take centre stage. By adopting this artist-centric approach, he aims to give late modern and early contemporary African artists their rightful place in history while making art meaningful and accessible to a broader audience.