Soledad Salamé In the Ocean III, 2026
Silkscreen on handmade paper, jeans pulp
Paper: 14 x 10.5 in. (35.6 x 26.7 cm)
Frame: 19.75 x 15.75 in. (50.2 x 40 cm)
Edition 1 of 1
Sala-1345-C
Soledad Salamé Under Water, 2025
Silkscreen, hand painting, chine collé
Paper: 22.25 x 29.75 in. (56.5 x 75.6 cm)
Frame: 26.4 x 33.75 in. (67 x 85.7 cm)
Edition 1 of 1
Sala-1342-C
Soledad Salamé Blue Algae, 2025
Silkscreen and hand painting on Rives BFK paper
Paper: 19 x 19 in. (48.3 x 48.3 cm)
Frame: 23 x 23 in. (58.4 x 58.4 cm)
Edition 1 of 1
Sala-1343-C
Soledad Salamé Yellow Algae, 2025
Silkscreen and hand painting on Rives BFK paper
Paper: 19 x 19 in. (48.3 x 48.3 cm)
Frame: 23 x 23 in. (58.4 x 58.4 cm)
Edition 1 of 1
Sala-1344-C
Joyce J. Scott Buddha Obama, 2012
Monoprint from the Obama Series on Rives BFK paper
Paper: 22 x 30 in. (55.9 x 76.2 cm)
Frame: 25.75 x 33.5 in. ( 65.4 x 85.09 cm)
Scot-1026-C
Joyce J. Scott Dice Baby 3, 1999
Monotype with handwork on Somerset Velvet paper
Paper: 29.5 x 39.5 in. (74.9 x 100.33 cm)
Frame: 31.1 x 41.6 in. (79. x 105.7 cm)
Edition 1 of 1
Published by Goya Contemporary / Goya-Girl Press
SCO-0105-CO
Joyce J. Scott Runs in the Family, 1999
Monotype with handwork on Somerset Velvet paper
29 1/2 x 39 1/2 in. (74.93 x 100.33 cm)
Published & Printed by Goya Contemporary / Goya-Girl Press
SCO-0094-CO
Joyce J. Scott Soul Erased, 1999
Lithograph, screen print, embossing on Rives BFK
30 x 22 in. (76.2 x 55.9 cm) each
Edition of 20
Published by Goya Contemporary/Goya-Girl Press
SCO-0070-CO
Amalie Rothschild Dawn's Early Light, 1997
Lithograph
18 x 24 in. (45.7 x 61 cm)
Edition of 20
Published by Goya Contemporary / Goya-Girl Press
ROT-0026-CO
Amalie Rothschild Duo W, 1982
Cast handmade paper
Paper: 29.5 x 29.5 x 1 in. (74.93 x 74.93 x 2.54 cm)
Plexiglas: 36 x 36 x 2.25 in. (91.44 x 91.4 x 2.25 cm)
ROT-1127-C
Amalie Rothschild Io, 1982
Cast handmade paper
Paper: 24.25 x 24.25 x 2.5 in. ( 61.6 x 61.6 x 6.4 cm)
Plexiglas: 28.4 x 28.4 x 3.75 in. (72.1 x 72.1 x 9.5 cm)
ROT-1071-C
Amalie Rothschild Still Life, 1982
Cast handmade paper
Paper: 22 x 22 x 1.25 in. (55.88 x 55.88 x 3.2 cm)
Plexiglas: 25.3 x 25.3 x 2.25 inches (64.3 x 64.3 x 5.7 cm)
ROT-1070-C
Amalie Rothschild Archimedean Pi, 1982
Cast handmade paper
Paper: 20 x 20 x 2.5 in. (50.8 x 50.8 x 6.4 cm)
Plexiglas: 21.4 x 21.4 x 3.75 in. (54.4 x 54.4 x 9.5 cm)
ROT-1032-C
François Morellet Pi piquant, 1999
Etching
Paper: 23.5 x 23.4 in. (59.7 x 59.4 cm)
Frame: 28.5 x 28.5 in. (72.4 x 72.5 cm)
Edition 14 of 40
More-1001-O
Sam Gilliam Study III Blue Nile, 1972
Mixed media on paper
Left Element: 14.63 x 10.25 in. (36.91 x 26.04 cm)
Right Element: 11.88 x 17.63 in. (30.18 x 44.78 cm)
Frame: 20 x 33.25 in. ( 50.8 x 84.46 cm)
Gill-1003-O, Gill-1004-O
Sonya Clark The Huest Eye, 2023
Embroidered thread on Rives BFK paper
36 x 24 in. (91.4 x 61 cm)
Edition of 12
Published by Goya Contemporary / Goya-Girl Press
Sonya Clark The Bluest, Twisted, 2023
Lithograph on Rives BFK paper
36 x 24 in. (91.4 x 61 cm)
Edition of 30
Published by Goya Contemporary / Goya-Girl Press
Sonya Clark Confederate, Surrender, 2022
Mixografia print on handmade paper
43.75 x 23.25 x 0.75 in. (111.13 x 59.06 x 1.91 cm)
Edition of 30
Clar-1114-C
Sonya Clark’s Confederate, Surrender centers on a seemingly quotidian object imbued with monumental historical weight: a white tea towel with red pin stripes, originally woven in Richmond, Virginia. The work examines the history of the Confederate Flag of Truce raised by General Robert E. Lee’s army at Appomattox (April 9, 1865).1 Fashioned from a simple kitchen dish towel, the Truce Flag signaled the collapse of soldiers fighting to preserve the institution of slavery.
By reconstructing this object in print, Clark disrupts the visual dominance of the Confederate battle flag—a symbol inextricably linked to the violent defense of Black enslavement and its persistent legacy of racism. Instead, she redirects attention to the modest textile that signaled the Confederacy’s surrender—the quiet wave of a domestic object that initiated the formal conclusion of a war waged against Black freedom.
In an interview between Sonya Clark and Paul Farber, archived on the Monument Lab website, Clark recalls her experience as a Smithsonian Institution Artist Research Fellow in 2011. During that time, she visited the National Museum of American History, where a long line of visitors had gathered to view the Star-Spangled Banner. In another exhibit, she encountered Abraham Lincoln’s iconic top hat, displayed within an exhibition on American presidents. In the same display case, however, she noticed a small, folded textile labeled “Confederate Flag of Truce”—a quiet but charged object placed alongside one of the nation's most revered presidential artifacts.
“It wasn’t hidden, just largely unamplified,” said Clark. “It is not that it was undiscovered, but that it hasn’t lived in public memory the way other flags have”— And so she sought to bring attention to that overlooked history.2 “I suspect most people know the Confederate flag but don’t know about the Confederate truce flag?” said Clark. “What would it mean if we had focused our attention on the surrender and all that it implied? Where might we be now?”3
[Note to reader: American historian, museum director, and public scholar Dr. Lonnie G. Bunch III curated the “Truce Flag” into the aforementioned exhibition before later serving as the founding director of the National Museum of African American History and Culture and, subsequently, as Secretary of the Smithsonian Institution.]
As an intimate domestic textile, a dish towel is typically handled, folded, and worn through repetitive labor. In this dimensional print—rendered to emphasize the truce flag’s specific weave structure—Sonya Clark elevates a once-utilitarian cloth into a charged historical artifact.
Clark characterizes her engagement with fraught national symbols as an “amplifying, educative intervention.”4 Rather than smoothing over tension, she preserves it through tactile processes that insist on material and historical presence. By reimagining the towel-turned-truce flag, Clark reframes surrender not as mutual reconciliation between equal parties, but as the necessary dismantling of a regime built upon racial violence.
Through this artistic gesture, Sonya Clark redirects national memory toward an object worthy of recognition, replacing Confederate iconography with a symbol of its collapse.
Clark states, “That's the power of art. That's one of the things I can do as an artist—I can use my voice to amplify this historical object and other historical objects that changed our path.”5 “Amplify” is precisely what Clark accomplishes.
Confederate, Surrender centers our attention on the exact moment a system committed to enslavement was forced to yield. By foregrounding the truce flag, Clark surfaces a history that has been muted or overlooked. In doing so, Confederate, Surrender honors not only the end of the Confederacy, but also the profoundly unfinished struggle for justice that followed emancipation—and that continues today.
-Writing by Amy Raehse unless otherwise noted.
Footnote
[1] Rubenstein, Harry, R., “The Gentleman’s Agreement that Ended the Civil War,” What It Means to Be American, April 3, 2015
[2] Sonya Clark and Paul Farber, Monument Lab Podcast, Episode12, March 2019. https://monumentlab.com/podcast/in-pursuit-of-the-confederate-truce-flag-with-artist-sonya-clark
[3] Sonya Clark, describing her Monument Lab Podcast interview via email, 2026
[4] Sonya Clark, describing her engagement with charged historical textiles as “an act of care,” in phone conversation, 2025
[5] Sonya Clark, describing in email, 2026
This work was produced at the Mixografia print atelier. For three generations, the Remba family has shaped the field of printmaking and is recognized for developing and refining their innovative three-dimensional printing technique over more than 50 years. For the past 25 years, Goya Contemporary has worked alongside our print colleagues at Mixografia. As fellow members of the IFPDA—including service on its Board of Directors—we share a commitment to the highest standards of care, ethics, and connoisseurship in printmaking, as well as a mutual dedication to creating space for artistic vision. We are proud to represent these extraordinary prints, the histories they illuminate, and the spirit of collaboration they embody between artist, atelier, and gallery.
![Sonya Clark 
Confederate, Surrender, 2022
Mixografia print on handmade paper
43.75 x 23.25 x 0.75 in. (111.13 x 59.06 x 1.91 cm)
Edition of 30
Clar-1114-C
 
Sonya Clark’s Confederate, Surrender centers on a seemingly quotidian object imbued with monumental historical weight: a white tea towel with red pin stripes, originally woven in Richmond, Virginia. The work examines the history of the Confederate Flag of Truce raised by General Robert E. Lee’s army at Appomattox (April 9, 1865).1 Fashioned from a simple kitchen dish towel, the Truce Flag signaled the collapse of soldiers fighting to preserve the institution of slavery.
By reconstructing this object in print, Clark disrupts the visual dominance of the Confederate battle flag—a symbol inextricably linked to the violent defense of Black enslavement and its persistent legacy of racism. Instead, she redirects attention to the modest textile that signaled the Confederacy’s surrender—the quiet wave of a domestic object that initiated the formal conclusion of a war waged against Black freedom.
In an interview between Sonya Clark and Paul Farber, archived on the Monument Lab website, Clark recalls her experience as a Smithsonian Institution Artist Research Fellow in 2011. During that time, she visited the National Museum of American History, where a long line of visitors had gathered to view the Star-Spangled Banner. In another exhibit, she encountered Abraham Lincoln’s iconic top hat, displayed within an exhibition on American presidents. In the same display case, however, she noticed a small, folded textile labeled “Confederate Flag of Truce”—a quiet but charged object placed alongside one of the nation's most revered presidential artifacts.
“It wasn’t hidden, just largely unamplified,” said Clark. “It is not that it was undiscovered, but that it hasn’t lived in public memory the way other flags have”— And so she sought to bring attention to that overlooked history.2 “I suspect most people know the Confederate flag but don’t know about the Confederate truce flag?” said Clark.   “What would it mean if we had focused our attention on the surrender and all that it implied? Where might we be now?”3
[Note to reader: American historian, museum director, and public scholar Dr. Lonnie G. Bunch III curated the “Truce Flag” into the aforementioned exhibition before later serving as the founding director of the National Museum of African American History and Culture and, subsequently, as Secretary of the Smithsonian Institution.]
As an intimate domestic textile, a dish towel is typically handled, folded, and worn through repetitive labor. In this dimensional print—rendered to emphasize the truce flag’s specific weave structure—Sonya Clark elevates a once-utilitarian cloth into a charged historical artifact.
Clark characterizes her engagement with fraught national symbols as an “amplifying, educative intervention.”4 Rather than smoothing over tension, she preserves it through tactile processes that insist on material and historical presence. By reimagining the towel-turned-truce flag, Clark reframes surrender not as mutual reconciliation between equal parties, but as the necessary dismantling of a regime built upon racial violence.
Through this artistic gesture, Sonya Clark redirects national memory toward an object worthy of recognition, replacing Confederate iconography with a symbol of its collapse.
Clark states, “That's the power of art. That's one of the things I can do as an artist—I can use my voice to amplify this historical object and other historical objects that changed our path.”5 “Amplify” is precisely what Clark accomplishes.
Confederate, Surrender centers our attention on the exact moment a system committed to enslavement was forced to yield. By foregrounding the truce flag, Clark surfaces a history that has been muted or overlooked. In doing so, Confederate, Surrender honors not only the end of the Confederacy, but also the profoundly unfinished struggle for justice that followed emancipation—and that continues today.
-Writing by Amy Raehse unless otherwise noted.
 
Footnote
[1] Rubenstein, Harry, R., “The Gentleman’s Agreement that Ended the Civil War,” What It Means to Be American, April 3, 2015
[2] Sonya Clark and Paul Farber, Monument Lab Podcast, Episode12, March 2019. https://monumentlab.com/podcast/in-pursuit-of-the-confederate-truce-flag-with-artist-sonya-clark
[3] Sonya Clark, describing her Monument Lab Podcast interview via email, 2026
[4] Sonya Clark, describing her engagement with charged historical textiles as “an act of care,” in phone conversation, 2025
[5] Sonya Clark, describing in email, 2026
 
This work was produced at the Mixografia print atelier. For three generations, the Remba family has shaped the field of printmaking and is recognized for developing and refining their innovative three-dimensional printing technique over more than 50 years. For the past 25 years, Goya Contemporary has worked alongside our print colleagues at Mixografia. As fellow members of the IFPDA—including service on its Board of Directors—we share a commitment to the highest standards of care, ethics, and connoisseurship in printmaking, as well as a mutual dedication to creating space for artistic vision. We are proud to represent these extraordinary prints, the histories they illuminate, and the spirit of collaboration they embody between artist, atelier, and gallery.](https://static-assets.artlogic.net/w_1800,h_1000,c_limit/exhibit-e/60d360873baacb4f945010a9/249a632a99e735f34d4123987ab9d733.jpeg)
![Sonya Clark 
Confederate, Surrender, 2022
Mixografia print on handmade paper
43.75 x 23.25 x 0.75 in. (111.13 x 59.06 x 1.91 cm)
Edition of 30
Clar-1114-C
 
Sonya Clark’s Confederate, Surrender centers on a seemingly quotidian object imbued with monumental historical weight: a white tea towel with red pin stripes, originally woven in Richmond, Virginia. The work examines the history of the Confederate Flag of Truce raised by General Robert E. Lee’s army at Appomattox (April 9, 1865).1 Fashioned from a simple kitchen dish towel, the Truce Flag signaled the collapse of soldiers fighting to preserve the institution of slavery.
By reconstructing this object in print, Clark disrupts the visual dominance of the Confederate battle flag—a symbol inextricably linked to the violent defense of Black enslavement and its persistent legacy of racism. Instead, she redirects attention to the modest textile that signaled the Confederacy’s surrender—the quiet wave of a domestic object that initiated the formal conclusion of a war waged against Black freedom.
In an interview between Sonya Clark and Paul Farber, archived on the Monument Lab website, Clark recalls her experience as a Smithsonian Institution Artist Research Fellow in 2011. During that time, she visited the National Museum of American History, where a long line of visitors had gathered to view the Star-Spangled Banner. In another exhibit, she encountered Abraham Lincoln’s iconic top hat, displayed within an exhibition on American presidents. In the same display case, however, she noticed a small, folded textile labeled “Confederate Flag of Truce”—a quiet but charged object placed alongside one of the nation's most revered presidential artifacts.
“It wasn’t hidden, just largely unamplified,” said Clark. “It is not that it was undiscovered, but that it hasn’t lived in public memory the way other flags have”— And so she sought to bring attention to that overlooked history.2 “I suspect most people know the Confederate flag but don’t know about the Confederate truce flag?” said Clark.   “What would it mean if we had focused our attention on the surrender and all that it implied? Where might we be now?”3
[Note to reader: American historian, museum director, and public scholar Dr. Lonnie G. Bunch III curated the “Truce Flag” into the aforementioned exhibition before later serving as the founding director of the National Museum of African American History and Culture and, subsequently, as Secretary of the Smithsonian Institution.]
As an intimate domestic textile, a dish towel is typically handled, folded, and worn through repetitive labor. In this dimensional print—rendered to emphasize the truce flag’s specific weave structure—Sonya Clark elevates a once-utilitarian cloth into a charged historical artifact.
Clark characterizes her engagement with fraught national symbols as an “amplifying, educative intervention.”4 Rather than smoothing over tension, she preserves it through tactile processes that insist on material and historical presence. By reimagining the towel-turned-truce flag, Clark reframes surrender not as mutual reconciliation between equal parties, but as the necessary dismantling of a regime built upon racial violence.
Through this artistic gesture, Sonya Clark redirects national memory toward an object worthy of recognition, replacing Confederate iconography with a symbol of its collapse.
Clark states, “That's the power of art. That's one of the things I can do as an artist—I can use my voice to amplify this historical object and other historical objects that changed our path.”5 “Amplify” is precisely what Clark accomplishes.
Confederate, Surrender centers our attention on the exact moment a system committed to enslavement was forced to yield. By foregrounding the truce flag, Clark surfaces a history that has been muted or overlooked. In doing so, Confederate, Surrender honors not only the end of the Confederacy, but also the profoundly unfinished struggle for justice that followed emancipation—and that continues today.
-Writing by Amy Raehse unless otherwise noted.
 
Footnote
[1] Rubenstein, Harry, R., “The Gentleman’s Agreement that Ended the Civil War,” What It Means to Be American, April 3, 2015
[2] Sonya Clark and Paul Farber, Monument Lab Podcast, Episode12, March 2019. https://monumentlab.com/podcast/in-pursuit-of-the-confederate-truce-flag-with-artist-sonya-clark
[3] Sonya Clark, describing her Monument Lab Podcast interview via email, 2026
[4] Sonya Clark, describing her engagement with charged historical textiles as “an act of care,” in phone conversation, 2025
[5] Sonya Clark, describing in email, 2026
 
This work was produced at the Mixografia print atelier. For three generations, the Remba family has shaped the field of printmaking and is recognized for developing and refining their innovative three-dimensional printing technique over more than 50 years. For the past 25 years, Goya Contemporary has worked alongside our print colleagues at Mixografia. As fellow members of the IFPDA—including service on its Board of Directors—we share a commitment to the highest standards of care, ethics, and connoisseurship in printmaking, as well as a mutual dedication to creating space for artistic vision. We are proud to represent these extraordinary prints, the histories they illuminate, and the spirit of collaboration they embody between artist, atelier, and gallery.](https://static-assets.artlogic.net/w_647,h_647,c_limit/exhibit-e/60d360873baacb4f945010a9/249a632a99e735f34d4123987ab9d733.jpeg)
