Awol Erizku’s first solo exhibition at Night Gallery collapses America’s history of institutionalized racism, and its counter strategies, from the late 1960s into the future to better understand our political moment. In the first work encountered, two found unpunctured paper targets with carefully rendered features that exemplify the institutionalized white male hold the viewer at gunpoint. The in-tact shooting targets are posted on a bright yellow corrugated metal sheet tagged with crossed-out number twelves referencing street symbols that mark police presence. Other works on corrugated metal are plastered with featureless targets, however, these human shadows are affectively littered with bullet holes. In the tradition of black California assemblage, exemplified by Noah Purifoy, Betye Saar, and David Hammons, Erizku’s paintings are heavily sculptural using corrugated metal, plastic sheets, plywood, and palates to denounce Euro-centric painting standards of working on the smooth white surface of gessoed canvases. In the main gallery, Erizku displays a new series of works on assembled plywood and pallets that are screen-printed and colorfully “painted in” images pulled from the storied “Black Panther Coloring Book”.