For nearly half a century, renowned artist Larry Poncho Brown has traveled the world as a practicing artist representing his hometown of Baltimore, contributing to countless art projects and cultural exchange initiatives. Yet no matter where Poncho's journeys took him, one question consistently surfaced: "What's the art scene like in Baltimore?"

For years, Poncho felt a quiet embarrassment when answering. Baltimore certainly had a tight-knit community, but it was also a city marked by divisions-commercial art realm versus fine art realm, and the persistent struggle of BIPOC artists fighting for visibility and equitable representation. The truth was simple: Baltimore lacked enough walls, venues, and institutional support to make its artists feel like a unified family.

In 2016—during the same year Poncho was diagnosed with cancer and still mourning the loss of his father, he decided to take action. He envisioned a project that would bring artists together, affirm their presence, and celebrate their contributions. That vision became B'more ArtScene 2016, a grassroots effort built entirely through word of mouth.

To Brown's amazement, nearly 80 artists gathered for the first photograph. The image quickly earned the title "A Great Day in Baltimore", inspired by the iconic Harlem Renaissance portrait. Other cities-Oakland, CA, and Peoria, IL-had organized similar regional photographs, but Baltimore had never claimed its own moment. Since Baltimore wasn't distinctly part of the DMV (District of Columbia, Maryland and Virginia), Poncho opened the call to anyone who lived, worked, or exhibited in Baltimore City. The list grew from 80 to nearly 160 registrants.

This project was more than a photo. It was a form of resistance—a declaration that Baltimore artists deserved voice, visibility, and space. It responded to the erasure many felt, despite the rise of online platforms and pop-up galleries. It reminded the community that Baltimore's creative ecosystem is alive, evolving, and worthy of recognition.

Thankfully, several institutions and individuals have stepped up over the years. Kibibi Ajanku, curator at the Frederick Douglass-Isaac Myers Maritime Museum has spent decades ensuring artists of color have dignified, open walls. Derek Price, Executive director at the Eubie Blake Cultural Arts Center has done the same, offering consistent representation and exhibition opportunities. Joy Bramble and Paris Brown of The Baltimore Times have also championed artists, expanding access to wall space and visibility. Artist advocacy organizations like the Black Art Today Foundation have also raised the bar by 

providing exhibition opportunities and artist professional training in line with these efforts.

They build the foundation for a healthier, more inclusive art scene.

The 2026 B'more ArtScene photograph (shot by Raymond Lucas) captures a cross-section of the people who shape Baltimore's creative fabric-visual artists, curators, emerging talents, and seasoned veterans. In the 2016 photograph (shot by L.A. Randall), at least eight of those artists have since become ancestors. Poncho began this year's gathering with a moment of silence in their honor, acknowledging their contributions and the legacy they left behind.

But this year's photo also celebrates the new faces joining Baltimore's creative family.

What began as a two-generation gathering in 2016 has now expanded to four generations, with artists ranging from 14 to 91 years old. Commercial artists stood beside fine artists, all united in front of the Baltimore Museum of Art—a museum that, over the past decade, has amplified the voices of women of color and elevated talents like Valerie Maynard, Amy Sherald, Joyce Scott, and other notable artists with Baltimore ties.

Baltimore has produced an extraordinary roster of artists whose careers were forged on its streets, in its studios, and within its communities. This photograph is both a tribute and a promise: a reminder that Baltimore's artists are a family, that their work will not be forgotten, and that they will continue to be represented for decades to come.

Back in 2016, Poncho charged a modest $20 participation fee with the intention of publishing posters for every artist. Without following the proper protocols, the image circulated online, prompting the Baltimore Museum of Art to intervene-questioning the project's motives and imposing a $500 fee to use their steps. They may have assumed Poncho was profiting, when his only goal was ensuring artists had a copy of their own history. In 2026, Poncho followed every protocol. The BMA graciously offered space, and for that, the community is deeply appreciative. As the Joshua Johnson Council celebrates its 40th anniversary at the museum, this photograph stands as a testament to their commitment to preserving Black presence in the arts.

July 2026 was a day many will never forget—a reunion, a celebration, a moment of pride.

And if fortune allows, perhaps Baltimore's artists will gather again in 2036, continuing the tradition of honoring the city's creative heartbeat.

Today, when Larry Poncho Brown travels the world, he no longer hesitates. He proudly declares: "Yes, Baltimore has a vibrant, powerful, and beautifully united art scene."