Episode No. 241 features curator Antonio Sergio Bessa, and poet and artist Thylias Moss.

The Wexner Center for the Arts is now showing a retrospective of the paintings of Martin Wong, a San Francisco-raised, New York-based painter of urban life in the 1980s and 1990s. Titled “Martin Wong: Human Instamatic,” the show features over 80 paintings, including Wong’s street scenes, building-scapes, constellations, interiors and cacti. It also includes archival materials, often from the Martin Wong Papers at NYU’s Fales Library. The exhibition, which will be on view in Columbus through August 7, was co-curated by Yasmin Ramirez and this week’s lead guest, Sergio Bessa. Its strong catalogue was published by Black Dog.

Bessa is the director of curatorial and educational programs at the Bronx Museum of the Arts, which originated the exhibition. His previous projects include “Beyond the Supersquare: Art and Architecture in Latin America After Modernism,” which was published by Fordham University Press in 2014.

On the second segment, Thylias Moss discusses her 2011 ‘video poem’ The Glory Prelude to a Widow Shrine System. It’s on view in “Ellipsis,” an exhibition about the interplay between the five senses and visual art at the Pulitzer Arts Foundation in St. Louis through July 2. It was curated by Tamara H.  Schenkenberg, Kristin Fleischmann Brewer, Philip Matthews and Jennifer Baker. Moss is a MacArthur Fellowship-winning poet, writer, and filmmaker. She teaches English at the University of Michigan.

Air date: June 16, 2016.

Martin Wong, Untitled (Self Portrait Horizontal), 1961.

Martin Wong, Tell My Troubles to the Eight Ball (Eureka), 1978-81.

Martin Wong, My Secret World, 1978-81.

Martin Wong, Sharp and Dottie, 1984.

Martin Wong, CLosed, 1984-85.

Martin Wong, Big Heat, 1988.

Martin Wong, Rapture, 1988.

Martin Wong, Heaven, 1988.

Martin Wong, Euphorbia Obesa, 1997-98.

Still from Thylias Moss’s The Glory Prelude to a Widow Shrine System, 2011.