Sublime

Such resemblances to cities of the third world are in no way casual, or based on the “color” of a polyglot population: these are all cities arranged primarily not to improve the lives of their citizens but to be labor-intensive, to accommodate, ideally at the subsistence level, since it is at the subsistence level that the work force is most apt to

male domination,

“mind” from “body,” a virus that was harmful not only to infected individuals but to larger communities when it became a weapon used to justify colonialism, slavery, displacement of tribal peoples, and ravaging the earth. We always knew that different viruses were alive in other parts of the world, and that wise people were crafting other ways to d

am holding the tension of centering my own white, wealthy body in this writing, while knowing my body should never be at the center of the collective liberation I put my reflection in service of. I am

The turn, in art, from the reparative to a demand for repair, treats art less as “a ‘third thing’ between people whose meaning ‘is owned by no one, but which subsists between [artist and spectator]’” and more as something whose meaning and function can be named and adjudicated—something that can, in fact, be moved out of the category of art, and in

For Black Southerners, preservation has been challenging, even at an institutional level. Take, for example, the bounty that historically Black colleges and universities possess: papers, photos, all manner of artifacts. The wealth gap is evident. Lacking the capital of their White counterparts, Black institutions, even with the most careful of hand