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Paintings by the Nigerian artist Njideka Akunyili Crosby are shown alongside hand-sewn portraits by the Malawian artist Billie Zangewa and the sculptures of the Moroccan artist Batoul S’Himi, too, who turns kitchen cookware into political symbols.

Few viewers will object to such found-object sculptures as Mahmoud Obaidi’s “Salam,” which arrays actual swords and daggers to write the Arabic word for “peace,” or Batoul S’himi’s “Arab World Under Pressure,” which cuts a map of the region into the side of a metal pressure cooker.

These include an untitled piece by Batoul S’Himi, in which the Moroccan artist has carved a map of the world into the side of an aluminum pressure cooker, in a commentary on the constraints and expectations of gender.

He asked me if I could give it this September and I told himI would – if Philip Roth calls you and asks you to give the annual Philip Roth Lecture, you do it.

I told himI told him the other drugs made me nauseous and I was still in a lot of pain.