Is the Post- in Postmodernism the Post- in Postcolonial?

In 1987, the Center for African Art in New York organized a show entitled "Perspectives: Angles on African Art." The curator, Susan Vogel, had worked with a number of "cocurators," whom I list in order of their appearance in the table of contents of the exhibition catalogue: Ekpo Eyo, quondam director of the department of antiquities of the National Museum of Nigeria; William Rubin, director of the department of painting and sculpture at the Museum of Modern Art and organizer of its controversial exhibit, "Primitivism and TwentiethCentury Art"; Romare Bearden, African-American painter; Ivan Karp, curator of African ethnology at the Smithsonian; Nancy Graves, European-American painter, sculptor, and filmmaker; James Baldwin, who surely needs no qualifying glosses; David Rockefeller, art collector and friend of the mighty; Lela Kouakou, Baule artist and diviner from the Ivory Coast (this a delicious juxtaposition, richest and poorest, side by side); Iba N'Diaye, Senegalese sculptor; and Robert Farris Thompson,