My curatorial practice is characterized by

  • An embrace of subjective frameworks over “objective” approaches, wherein positionality and lived experiencence are considered sources of theoretical raw material

  • A preference for programming and discursive and interdisciplinary spaces over the Western exhibition form

  • A desire to stimulate the articulation of the first-generation African position in theory, cultural production, and curatorial language

  • A persistent inquiry into the possibilities for and textures of a “black gaze”; an insistence on cultural production sprung from that gaze; an interest in narratives that ignore the gazes of whiteness and colonialism

  • An adherence to black feminisms, for example, nego-feminism (namely, its championing of deference to local knowledge, the “ethnographies of the particular,” and collective practice) and fugitive feminism (namely, its call to abandon the construction of gender, which excludes black women, for a liberated, collective, and entirely new subject position)

  • A curiosity in the exploration of everyday life, leisure, pleasure, and luxury in black and African arts as well as feminism

  • A sensitivity to the particular politics, psychic needs and interests of specific institutions

  • An ongoing, clandestine response to the double-consciousness required of black institutional workers

  • A compulsion to perform care in the context of collective labor

  • An attentiveness to the role of emotion in creative practice

  • An absorption in works that contribute unrepresented, empowered, and nuanced narratives to the body of black arts and culture