Few artists escape pigeonholing quite like Sanford Biggers (MFA 1999)—or at least, that's the conclusion the New Yorker comes to in its profile on him. Blurring the boundaries between mediums, constantly alternating between political and playful, Biggers is known for works that cover a lot of intellectual ground without staking claim to any one ideological territory. "In a period when overtly political material may be more respected, and coveted, than ever before," writes critic Vinson Cunningham, "[Biggers] is disinclined to nudge viewers toward conclusions, whether interpretive or emotional. ... His desire not to be pinned down appears to spring from a kind of moral impulse: he wants the audience to do its share of the work." Read more about the complexities of this alum and his work here.