Lynette Yiadom-Boakye's contribution to the Barbican's Panafrica exhibition showcases her ability to create compelling fictional characters through her paintings. However, the exhibition ultimately fails to resonate, as it prioritizes dense academic theory over artistic expression. While Yiadom-Boakye's works, alongside pieces from artists like El Anatsui and Claudette Johnson, present a rich narrative of the diaspora experience, the curatorial approach is criticized for its lack of coherence. Each section of the exhibition is framed as an essay, leading to a disjointed presentation that detracts from the emotional weight of the art. The show raises significant questions about the representation of Africa and its people, yet often reduces these complexities to abstract concepts. Moments of authenticity, particularly in Johnson's portraits and Liz Johnson Artur's video capturing Black London life, highlight the potential for a more engaging exploration of identity. Ultimately, while the idea of Panafrica is intriguing, the execution falls short, transforming what could have been a vibrant celebration into a dry academic discourse.