Throughout the 2010s, Rashid Johnson's art continued to explore and expand upon themes of African American identity, history, and personal narratives through a multifaceted practice that includes video, sculpture, painting, and installation. His work in this decade reflects a deep engagement with both conceptualism and abstraction, with influences from literary figures like Ralph Ellison, Zora Neale Hurston, and Richard Wright, as well as artists such as Norman Lewis, Sam Gilliam, and Alma Thomas. Johnson frequently incorporates materials like shea butter and black soap into his installations, signifying their cultural significance within Afrocentric communities​ (Art21)​. In 2012, Johnson was named one of the six finalists for the Hugo Boss Prize, marking a significant recognition in his career. His first major museum solo exhibition in the US, titled "Message to Our Folks," was presented at the Museum of Contemporary Art, Chicago, in April 2012. This exhibition, a survey of Johnson's work over the previous ten years, showcased his broad range of media and themes, from the exploration of identity to his use of materials that interrogate the construction of both visual and conceptual abstraction. The exhibition also traveled to the Mildred Lane Kemper Art Museum in St. Louis and the High Museum of Art in Atlanta, highlighting Johnson's rising prominence in the contemporary art world​ (Wikipedia)​. Johnson's exhibitions in the 2010s, such as "Anxious Men" at the Drawing Center in New York in 2015, took a more direct political approach while returning to portraiture, a form that initiated his art practice. This exhibition, alongside others like "The Hikers" and "Fly Away," demonstrates Johnson's commitment to addressing contemporary existential issues while revealing connections between distinct moments in art history and his own career trajectories​ (David Kordansky Gallery)​​ (Hauser & Wirth)​. His diverse body of work in this period includes notable pieces and series like "Untitled Anxious Bruise Drawing," "Untitled Totem," "Two Standing Broken Men," and "Untitled Escape Collage," showcasing Johnson's innovative use of materials to explore themes of identity, abstraction, and the social conditions impacting African American experiences. These works, exhibited across various locations, further solidify Johnson's position as a critical voice in exploring the complexities of race, identity, and history through contemporary art​ (David Kordansky Gallery)​. Johnson's engagement with materials and themes, coupled with his involvement in significant exhibitions and recognitions, underscores the depth and breadth of his practice in the 2010s. His work not only contributes to the discourse on African American identity and history but also pushes the boundaries of contemporary art through its conceptual depth and material innovation.