Yesterday, I highlighted the artworks in the South Tent at Pulse Miami Beach. Right now, I’ll explain my reaction to the North Tent: it’s a little complicated.

I never want to denigrate anyone’s taste, so believe me when I say I’m not judging when I describe the North Tent as more commercial; it’s just a fact. Ain’t nothin’ wrong with liking pretty things. I mean, that’s where the Target corporation had mounted an elaborate brand activation in the North Tent. They had different installations using products that can be purchased at their stores and I have to admit that they were fun items. My personal tastes though are toward the more dark, provocative, and striking, and there’s only one exhibition there that really sucked me in: a series of composites by Dutch artist Ruud van Empel which were presented by Wagner + Partner, a Berlin-based gallery. Here’s two of his “Identities” that were displayed:

What you’re not experiencing right now when looking at these digital composites is the uncanny Valleyness of them. It’s unsettling. I asked the gallerists if the artist was black: Nope. In fact, a quick image search shows that van Empell has done plenty of other series featuring “people” of all kinds of ethnicities. I mentioned yesterday that I’m intrigued by men who respectfully depict women almost exclusively. The same goes for white artists who depict the “The Other” without Othering them. Seeing these black children not being fetishized had me thinking I had learned of another black artist I can start following and supporting.

The gallerists explained to me a bit of back story (that may or may not be true) as to why this man would be so fascinated by black children. His father reportedly had to live and work for a time in one of the previously Dutch-colonized countries of Africa; I’m guessing Congo here. When he returned to the Netherlands, he never spoke one word about his time there. If you’re not aware of Dutch colonial history in Africa, please take five minutes on Google and educate yourself, and then you’ll know why all I could think was “Holy shit.” It makes van Empel’s work haunting in its beauty to me.

So that’s Pulse for ya. Right now we’re headed to the Perez Art Museum. No swanky art parties to report on because, as I told my editor, I can’t get down like I used to.