The Miller test, established in Miller v. California, considers whether the average person, applying contemporary community standards, would find the work, taken as a whole, appeals to the prurient interest, depicts or describes sexual conduct in a patently offensive way, and lacks serious literary, artistic, political, or scientific value.

The exhibition, titled 'The Image of the Black in Western Art,' featured works that explored the portrayal of Black people in Western art history, challenging traditional narratives and highlighting the impact of racism on artistic representation.

Gordon Parks' 'Flavio' series, which depicted Black men and women in everyday situations, was deemed 'obscene' and banned from public display in the United States in the 1960s due to its frank portrayal of sexuality and nudity.

The Guerrilla Girls, an anonymous collective of feminist artists, used guerrilla tactics to challenge censorship and promote freedom of expression in the United States, often targeting museums and galleries that they felt were not adequately representing women and artists of color.

Andres Serrano's 'Piss Christ,' featuring a photograph of a Black man urinating on a crucifix, sparked controversy and censorship attempts in the 1980s due to its perceived blasphemy and sacrilege.

The exhibition, titled 'Black Male: Representations of Masculinity in Contemporary American Art,' featured works that explored the representation of Black men in contemporary art, challenging stereotypes and highlighting the complexities of Black identity.

Robert Mapplethorpe's 'X Portfolio,' featuring a series of photographs depicting the artist's own body in various states of undress, was deemed 'pornographic' and led to censorship attempts in the 1970s due to its explicit sexual content.

In New York v. Ferber, the U.S. Supreme Court upheld the constitutionality of a law banning the sale or rental of videos depicting child pornography, arguing that such material is not protected by the First Amendment.

Lorna Simpson's 'Guarded Images,' featuring a series of photographs depicting Black women in various poses and settings, was deemed 'racist' and led to censorship attempts in the 1970s due to its perceived negative portrayal of Black women.

The Yes Men, an anonymous art collective, used humor and satire to challenge censorship and promote freedom of expression in the United States, often targeting corporations and government agencies.

Kara Walker's 'Gone, An Historical Romance of a Civil War as It Occurred b'tween the Dusky Thighs of One Young Negress and Her Heart,' featuring a series of photographs depicting Black men and women in various poses and settings, was deemed 'sexually explicit' and led to censorship attempts in the 1990s due to its graphic and provocative content.

The exhibition, titled 'We Wanted a Revolution: Black Radical Women, 1965-85,' featured works that explored the contributions of Black women to the civil rights and Black Power movements, challenging traditional narratives and highlighting the complexities of Black women's experiences.

Wangechi Mutu's 'The Bride Stripped Bare,' featuring a series of photographs depicting Black men and women in various poses and settings, was deemed 'offensive' and led to censorship attempts in the 2000s due to its graphic and provocative content.

The exhibition, titled 'Soul of a Nation: Art in the Age of Black Power,' featured works that explored the contributions of Black artists to the civil rights and Black Power movements in the United States, challenging traditional narratives and highlighting the complexities of Black identity.

Carrie Mae Weems' 'From Here I Saw What Happened and I Cried,' featuring a series of photographs depicting Black men and women in various poses and settings, was deemed 'racist' and led to censorship attempts in the 2010s due to its perceived negative portrayal of Black people.