Much of the critical response to Monuments of Solidarity, LaToya Ruby Frazier’s dense and provocative mid-career retrospective at the Museum of Modern Art, has been in broad agreement on a couple of key points. The first is that Frazier is an enormously talented and committed artist. Still in her early forties, she is already claiming her place in the lineage of pivotal Black American makers and thinkers — creating work that’s in dialogue with leading photographic documentarians of African American life like Gordon Parks and Carrie Mae Weems; that brings to mind the vital journalism of Ida B. Wells, the activist scholarship of W. E. B. DuBois and Zora Neale Hurston, the polemical virtuosity of James Baldwin, the catholic brilliance of bell hooks. The second point is that Frazier’s goals are not only aesthetic. She is aiming to stimulate action toward social justice, and to this end she introduces viewers to people whose stories embody not only myriad forms of disenfranchisement but also resistance to those forces. Again and again, Frazier’s work shows us communities joined by an ethics of care: friends, family, and co-workers, intersectionally united by shared gender, labor, socioeconomic, educational, or environmental conditions.