In the early 1960s, Mohamed Melehi was “an immigrant, a lost person” in Minneapolis. Later there would be a move to New York and friendship with the likes of Jim Dine and Frank Stella, but at that time the Moroccan artist was a junior teaching assistant at the College of Art and Design and felt like an outsider in the American Midwest. There’s a heaviness to the 1963 acrylic painting that he titled after the city, which opens this exhibition. A block of pitch black pushes down on the monochrome red of the canvas’s bottom half. The colors, included in Marcus Garvey’s pan-African flag and other motifs of left-wing liberatory struggle, hint at Melehi’s politics. He could be hoisting a flag over American territory. Then again, he was never the kind of artist to take make his point so didactically. Ultimately the work remains a painting not a banner: sandwiched in between the red and black is a narrow strip of yellow and grey. At Tate St. Ives, Minneapolis hangs next to two of the very few figurative works in this survey of the Casablanca Art School, a post-independence generation of teachers and students from the Moroccan institution, where Melehi …