Recent events have forced mainstream media to pay unprecedented attention to the jeopardy that African Americans, especially men, face at the hands of the criminal justice system. The backbeat of social injustice has always made itself felt in Howard’s art, though she has seldom let social concern outweigh the specifics of viewers’ encounter with artworks’ at-hand reality. Howard has studded two walls of the corridor entrance to the Richmond Art Center with embedded shell casings in floor-to-ceiling grids to form an installation titled “Ten Little Children Standing in a Line, One Got Shot and Then There Were Nine” (2015). Howard has frequently worked by repositioning ordinary objects and materials so as to generate unforeseen meanings and force, and “Ten Little Children” counts as a pure instance of her methods. A piece such as “U.S.