in which he used the colors of the Pan-African flag and members of his family to display and create a narrative of black life that was proud and exuberant. Black Male: Representations of Masculinity in Contemporary Art In 1994, Harris was offered a solo exhibition in New York City by Jack Tilton featuring his earlier work, “Constructs”, as part of the larger exhibition titled “Black Male: Representations of Masculinity in Contemporary American Art.” Educator, Senam Okudzeto, considered Harris’ work a marriage of the autobiographical and the historiographical, beautifully illustrating “identity politics”. For Okudzeto, “Black Male” did not attempt to project inclusivity or disillusion viewers; “Black Male” encouraged viewers to think about blackness and masculinity as political powers in the culture of the United States. The Good Life In the fall of 1994, Harris exhibited The Good Life in New York where Barkley L. Hendricks also appeared, where Elizabeth Hess of The Village Voice said "the most brilliant pairing in the installation is achieved when Lyle Ashton Harris' seductive self-portraits meet Barkley L. Hendricks' tight paintings of black men. Harris dresses up in feminine costumes, challenging every construct of black macho, while Hendricks' dated, once fashionable portraits - a sports figure, a man in a fancy, full-length coat - support the pillars of masculinity...". The show was composed of large format Polaroids depicting staged and impromptu photographs of friends and family members. One of the most notable works from the show is a triptych series in collaboration with his brother, Thomas Allen Harris, entitled "Brotherhood, Crossroads, Etcetera". The work weaves a complex visual allegory that invokes ancient African cosmologies, Judeo-Christian myths, and taboo public and private desires. Harris remained consistent in his ability to play with gender, sexuality and race in his art when he worked with Renée Cox in 1994. The two posed for Harris's polaroid piece, The Child. Cox poses as a father figure, embracing Harris as the mother figure, who holds a child as they both look into the camera. Harris maintains his color scheme of black, green, red, and yellow, which emphasize his connection to his African roots and culture. Green, he establishes as a symbol of the African race, and red as a symbol of blood. This color scheme was used for The Child, as well as his project Brotherhood, done with Thomas Allen Harris. The Watering Hole In 1996, "The Watering Hole", a photomontage series,