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‘The city becomes a canvas for storytelling.’ How Baltimore is honoring Freddie Gray.

Baltimore artist Keila Evans sits between two paintings in her reimagined Pinocchio/Black Lives Matter series at the Quid Nunc Art Gallery's station. Her art was inspired by the death of Freddie Gray in police custody in 2015.

Courtesy of Keila Evans

July 17, 2025

Halfway through a warm but breezy day, the assembly hall of the Baltimore War Memorial is packed with visitors. They have come to admire, experience, and shop for art from more than 40 local artists participating in , a festival that draws thousands of people annually to the downtown area. There is photography, sculpture, abstract and derivative art of famous people like Marvin Gaye and Nina Simone, and reconceptualized comic book covers.

At the Quid Nunc Art Gallery’s station, several paintings of Pinocchio reimagined as a Black child stand out. He is controlled, surveilled, and undermined all while proclaiming Black Lives Matter. Artist Keila Evans originally painted four Pinocchio paintings in honor of her fellow Baltimorean, Freddie Gray.

“I felt a lot of emotions and feelings after the riots with Freddie Gray, over the course of the years, being a single mom with a Black son, just trying to figure out a way to conjure something I can put on canvas that was relatable,” says Ms. Evans.

Why We Wrote This

Black Americans have long turned to art in response to racial injustice and structural violence. To honor Freddie Gray, Baltimore artists took to canvas and sculpture this summer to commemorate his life and memory. Part of an occasional series.

Mr. Gray died 10 years ago after he suffered a fatal spinal injury while shackled during a violent van ride with Baltimore Police officers. Police had claimed he had a switchblade, but the city’s attorney later said that was not true. After a medical examiner ruled Mr. Gray’s death a , it sparked an uprising that pit police and Baltimore city leaders against a city of frustrated denizens – many of them Black – protesting being killed by police with what they saw as impunity. The riots and protests led to the National Guard being deployed in the city.

Baltimore artists got to work after Mr. Gray’s death. In a series of 10-year-anniversary gatherings this summer, they are commemorating his life through art.

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“Baltimore in general is a place of survivors and survival,” says Derrick Adams, a visual and performing artist and curator.

Festivalgoers walk the aisle at the Scout Art Fair during Artscape in Baltimore. Works from 40 local artists and six galleries were for sale.
Courtesy of Verna Porter

Art is another aspect of storytelling, documenting what has happened in the Black community, says Mr. Adams. His art has been displayed in museums across the U.S., and his work has been featured in TV shows such as Fox’s “Empire” and HBO’s “Insecure.”

“Because there’s so many places that artists can tell their story, the city becomes a canvas for storytelling,” he continues.

Black Americans have long turned to art in response to racial injustice and structural violence. The Harlem Renaissance in the 1920s and 1930s fostered cultural identity and racial pride. It challenged stereotypes through various forms of art and literature and added to the flame that became the Civil Rights Movement in the 1960s. At that time, activists and politicians partnered with prominent artists to push the cause forward for social justice.

Mr. Gray’s name runs like a line in a song of many others such as Philando Castile, Breonna Taylor, Eric Garner, and Michael Brown. Baltimoreans interviewed say it hurt when three of the officers charged with Mr. Gray’s death were and the other three had their charges dropped. Some kept creating art to express their grief and hurt and to challenge narratives.

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Mr. Gray died five years before George Floyd’s murder by Minneapolis police was captured on video. The Black Lives Matter movement, which began in 2012 after Trayvon Martin’s killing in Florida, erupted nationwide with the largest protests since the Civil Rights Movement. This year, the country has reflected on five years since Mr. Floyd’s murder, which led to a temporary change of consciousness. There were attempts at social justice reform, philanthropy, and reconciliation. But those interviewed point to that show killings by police are up.

The spot where Freddie Gray was arrested before he died from injuries sustained while in police custody in 2015 is marked by a mural in Baltimore.
Jessica Mendoza/Ǵ/File

Public art as memorial

At the corner of North Mount and Presbury streets, in Baltimore’s Sandtown-Winchester neighborhood, where Mr. Gray was arrested, a mural was created to honor him. It depicts a clean-shaven Mr. Gray flanked by civil rights icons on one side and Black Lives Matter protesters on the other. Another more recent mural just blocks away shows a sideways profile of his face with pieces of a puzzle missing from the landscape. Writing across the mural reads “Power of The People,” with marchers in raised fists standing beneath the letters.

Mr. Gray’s death brought national media to Baltimore. Their words, videos, and films portrayed a city on the brink. They also brought to life the disinvestment in certain communities there, says Mr. Adams.

The protests also launched the careers of artists, like . In 2015, Mr. Allen was an amateur photographer whose images of people in the street running from police were used by Time magazine. Ten years later, the Baltimore Museum of Art is featuring 35 of his images in an that runs through Sept. 21.

A pictorial history

In the Penn North neighborhood, where the riots started after Mr. Gray’s death, murals have been erected and local artists have been called to duty. They have through song, art, dance, and poetry.

“Artists actually create images ... that end up in the media, end up in news outlets, that would not necessarily end up in news outlets if artists did not take the lead by creating imagery that provokes people to respond,” says Mr. Adams. He calls it pictorial history.

For the 10th anniversary of Mr. Gray’s death, Baltimore Mayor Brandon Scott at a memorial for Mr. Gray at one of his murals, alongside Mr. Gray’s twin sister, Fredricka, who placed a wreath at the site. He acknowledged Baltimore’s troubled history, but said that police have cut in half their use-of-force stats and that police-involved shootings were 67% since Mr. Gray’s death. Violent crime is down in the city, according to police .

Fredricka Gray, twin sister of Freddie Gray, embraces Billy Murphy Jr. as Baltimore Mayor Brandon Scott speaks at a memorial event commemorating the 10-year anniversary of the death of her brother, April 19, 2025.
Stephanie Scarbrough/AP

Baltimore also kicked off the “” initiative, which is aimed at youth engagement. This summer, the city is offering 42 camps and 29 literacy programs. Nine recreation centers have extended hours until 11 p.m. on Friday and Saturday, pools will be open, and there will be block parties for city officials to engage with residents. A Gray family attorney said that he hoped people would be inspired by the art created after Mr. Gray’s passing.

“Sometimes when people go through trauma there’s not always a voice that comes up with what they’ve experienced ... so art becomes this tool that’s used to express those things that can’t be verbalized,” says LaToya Pegram, a licensed art therapist, and board member of the American Art Therapy Association.

Art like the murals celebrating Mr. Gray’s life and highlighting structural problems can be less combative than someone yelling in your face, she says.

“Art can be used as a challenge, or a use of advocacy as a means to dismantle,” Ms. Pegram says. “I think art can be used this way because it almost creates an externalized, tangible object that can be projected onto. I feel like it’s a less threatening way to combat what’s being resisted.”

For this summer’s commemorations, Mr. Adams curated the Scout Art Fair at Artscape. It was a family affair with craft and food vendors, a speaker series, and a concert headlined by Grammy-winning singer Fantasia.

“The idea of being a commercial artist and having a gallery is not as easily attainable as an artist taking it to the street and responding to society and responding to the way that they think things should be,” Mr. Adams says.

The next step for Baltimore artists, he says, is to capitalize on their art while raising their voices.

Ms. Evans says she’s trying to do that, but sometimes art touches her spirit so much she can’t part with it.

“Monetizing is important when it comes to those opportunities, to be able to express yourself, not only hone your craft, but also allow others into your world,” she reflects. “That way you can bring the community onto what you’re doing.”

Keila Evans wound up unable to part with her painting of Pinocchio as a Black man being stopped by police. It was a part of a four-part series that she painted inspired by Freddie Gray.
Courtesy of Keila Evans

She kept one of her four Pinocchio paintings for herself. In it, Pinocchio’s grown, dressed in a lavender short set and pink bowtie. Hands at his side, he is unattached to the cords that hold him in place. A police command stops him. “Freeze!!! Put your hands up!!” But Jiminy Cricket is there to remind him to always remain calm, and to be polite and respectful so as to not make matters worse.

“I got to experience that through my twin brother being pulled over by the police and coming home crying, racially profiled, wrongfully accused, as well as other Black males that are not necessarily family, but students that I’ve taught,” Ms. Evans remembers.

The process of creating was healing for her, she says, and more important than selling art, people started talking.

“That was a moment in time where enough was enough during the Freddie Gray riots,” she says. “It forced me to go into that mold.”

Earlier entries in our series:

July 7: ‘That’s the warrior spirit.’ Why Valerie Castile is determined to honor her son.

May 21: George Floyd’s family lawyer thinks the path to justice is ‘more daunting than ever’

May 18: George Floyd’s murder sparked a reckoning on race. But did America change?