Their work was noted for its boldly political stance, producing dynamic conceptual art that offered a series of inventive critiques on the state of inter-communal, class and gender relations in the UK.
[7] The group's critique of the institutional racism of Britain's art world was part of the impetus that led to The Other Story, a seminal survey of African and Asian artists curated by Rasheed Araeen at London's Hayward Gallery in 1989,[8] as well as the founding of the Association of Black Photographers and the establishment of Iniva, the Institute of International Visual Art.
[10] In 2011, the Blk Art Group Research Project was set up by Keith Piper, Claudette Johnson and Marlene Smith.
[11] Eddie Chambers has argued that despite their undoubted creativity and social relevance, the group suffered from the general lack of serious critical attention given to black artists by the British arts media.
[12] Nevertheless, their enthusiasm and commitment to making art relevant to everyday life ensured that they were a strong influence on the later generation of black British artists that included Young British Artists (YBA) such as Chris Ofili and Steve McQueen, both of whom went on to win Turner Prizes, while maintaining a clear political element to their work.