Romare Bearden called his 1960 painting series “Projections” to underline his intention to draw attention to the growing change of time and the snowballing demands for civil rights. Readers, at this stage, knew how important it would be to see these paintings or the so-called projections. He even showed a series of images of black life to highlight a narrative of the black people projecting concurrent creativity on acknowledged art history and to challenge the rampant pictures of African Americans. Of course, Bearden ascended in an era when paintings had to accentuate this ensuing work. However, a few critics tried to question Bearden’s motive. They wanted to know whether the concept of Projections endeavored to emphasize aesthetic mastery or it only responded to the modern politics of race. Regardless of a few corollaries and versions of these so-called implications of the paintings, Bearden’s Projections would intend to hold his knowledge of history and art and his personal experience as a black man in modern society.