Aicon Gallery presents 'A Missing History: "The Other Story" re-visited'. This group exhibition re-visits the seminal exhibition 'The Other Story' that closed twenty years ago in June 1990. The show features 13 artists, 11 of whom featured in the original show. 'The Other Story: Afro-Asian Artists in Post-War Britain' curated by Rasheed Araeen, opened at the Hayward Gallery on 29 November 1989. The show's premise was to present artists working in Britain with an African-Caribbean, African or Asian cultural background whose works were ignored by dominant accounts of Modernism. The exhibition subsequently toured to Wolverhampton Art Gallery and finally the Cornerhouse in Manchester where it closed on 10 June 1990.

Along with 'Magiciens de la Terre', the 1993 edition of the Whitney Biennial and Documenta XI, 'The Other Story' is one of the key exhibitions that over the last twenty years have impacted on the ways in which a previously closed art world was opened up to issues around post-colonialism, migration, exile, diaspora and globalization. Unsurprisingly each of these exhibitions generated controversy, with heated discussions taking place at the time of each one. 'A Missing History: "The Other Story" re-visited' is an opportunity to look back on these debates at the twenty-year anniversary mark as well as to exhibit the works of 11 of the 24 artists in the original show and two artists who were not in the show.

The Other Story' generated fierce debates. Some artists refused to participate - nervous of being part of a culturallyspecific exhibition which was likely to generate controversy. Critics who are now widely associated with reactionary tastes such as Brian Sewell and Peter Fuller denounced the 'quality' of the works. More pertinently critics such as Homi Bhabha and the artists Sutapa Biswas and Rita Keegan questioned the gender imbalance of the show, with Bhabha arguing that Araeen had replicated the "masculinism" of Modernism. Twenty years on the 'quality' argument seems at best naïve; many of the artists in the show such as Rasheed Araeen, Sonia Boyce, Avinash Chandra, David Medalla, Keith Piper, Saleem Arif Quadri, F.N. Souza and Aubrey Williams (all of whom are in 'A Missing History') are now in the Tate Collection. The debate around gender holds water - hence the inclusion in 'A Missing History' of Sutapa Biswas and Chila Kumari Burman, two artists who in the late 1980s were associated with the Black Women's Art Group.

In one of the most nuanced readings of 'The Other Story' Jean Fisher has argued that one of key questions raised by 'The Other Story' was "less a demand for inclusion as such than an exposure of the inherent lack in an institutional structure whose very coherence depended on exclusionary practices." (J. Fisher, 'The Other Story and the Past Imperfect', Tate Papers Issue 12, 2009). Fisher ends her paper by asking: "Twenty years on, is the story any different? Has justice finally been served?" It is possible to argue that twenty years on the exclusionary mechanisms of the institutional canon are in the process of being dismantled in response to key exhibitions such as 'The Other Story'. The sustained academic critique on canonical art history from feminist, Marxist and post-colonial accounts has also fed into this process. Moreover, the relentless march of global capitalism which does not take into account colour or nationality when working out which artists will hold the attention of collectors has played its own part. Yet this bright new dawn is in danger of ignoring history in favour of embracing a bright new future of biennials and art fairs in every other city; a history of the overlapping generations of artists whose work prompted the debates which fed into radical changes in the cultural landscape.

In one of the most nuanced readings of 'The Other Story' Jean Fisher has argued that one of key questions raised by 'The Other Story' was "less a demand for inclusion as such than an exposure of the inherent lack in an institutional structure whose very coherence depended on exclusionary practices." (J. Fisher, 'The Other Story and the Past Imperfect', Tate Papers Issue 12, 2009). Fisher ends her paper by asking: "Twenty years on, is the story any different? Has justice finally been served?" It is possible to argue that twenty years on the exclusionary mechanisms of the institutional canon are in the process of being dismantled in response to key exhibitions such as 'The Other Story'. The sustained academic critique on canonical art history from feminist, Marxist and post-colonial accounts has also fed into this process. Moreover, the relentless march of global capitalism which does not take into account colour or nationality when working out which artists will hold the attention of collectors has played its own part. Yet this bright new dawn is in danger of ignoring history in favour of embracing a bright new future of biennials and art fairs in every other city; a history of the overlapping generations of artists whose work prompted the debates which fed into radical changes in the cultural landscape.