Nigerian modern art is having a moment. In London, the Tate has opened a critically acclaimed exhibition, called “Nigerian Modernism,” featuring more than 50 artists who experimented with vibrant new styles in the mid 20th century in the giant and influential West African nation. More generally, the artists of this era have become more recognized outside of their home country in recent decades, from early figures who laid the groundwork like Aina Onabolu to a towering figure of the 1950s like Ben Enwonwu to younger innovators of the 1950s and 1960s such as Uche Okeke and Demas Nwoko, with many more important names to know and bodies of work to discover. This was an earth-shaking time in Nigerian history, when a near-century of British colonial domination was shed and the many problems of a fragile new independent nation had to be faced. These artists were part of figuring out how to express that new sense of identity in images. But their art was not always so celebrated, sometimes dismissed as derivative of European art. The scholar and curator Chika Okeke-Agulu has been important to the recent re-estimation of Nigeria’s art history. He teaches at Princeton, and is the author of, among many other things, of Postcolonial Modernism: Art and Decolonization in Twentieth-Century Nigeria, a book that personally excited me very much when I first found it. With the Tate show drawing a fresh wave of interest, art critic Ben Davis thought Okeke-Agulu would be an excellent guide to what this art was, what it meant, and why it still demands attention today.