Sonya Clark Unraveled, 2015-ongoing
Unraveled cotton Confederate battle flag, shelf
10 x 36 x 7 in. (25.4 x 91.4 x 17.8 cm)
Clar-1120-C
"In Unraveling and Unraveled (the latter, exhibited here), Sonya Clark confronts the enduring legacy of the Confederate flag through the slow and deliberate act of deconstruction. Using cotton Confederate battle flags, Clark painstakingly pulls apart the woven threads by hand — at times inviting visitors to participate in the process — transforming a charged representation of white supremacy into loose strands of red, white, and blue. The works examine how histories of racism, violence, and division are woven into the fabric of American life, and how dismantling those systems demands collective labor, patience, and sustained attention.
Unraveling refers to the ongoing participatory performance in which visitors join Clark in unweaving the flag thread by thread. The process is intentionally slow and generally unfolds in segments; over the course of an hour, only a small portion may come undone. For Clark, this measured pace reflects the difficulty of confronting and undoing generations of racial injustice.
Unraveled represents the aftermath — the fully dismantled flag reduced to separated piles of thread. Stripped of its original form and authority, the image dissolves into material, inviting viewers to reconsider the power symbols hold and the histories they carry. Together, the works shift attention away from destruction and toward transformation, suggesting that unraveling itself can become an act of reflection and repair."*
*Excerpted from the publication “Unfinished Republic: America at 250,” ISBN: 979-8-3507-6518-2, page 4.
Sonya Clark Confederate, surrender, 2022
Mixografia print on handmade paper
43.75 x 23.25 x 0.75 in. (111.13 x 59.06 x 1.91 cm)
Edition of 30
Clar-1114-C
"Confederate, surrender centers a seemingly ordinary object imbued with profound historical meaning: the white cotton tea towel used as the Confederate Flag of Truce at Appomattox on April 9, 1865. Originally woven in Richmond, Virginia, the towel signaled the surrender of General Robert E. Lee’s army and the collapse of a regime committed to preserving slavery. By reconstructing and amplifying this overlooked textile, Clark redirects attention away from the Confederate battle flag — long upheld as a symbol of white supremacy and racial violence — toward the modest domestic object that marked the Confederacy’s defeat.
Clark first encountered the folded truce flag while researching at the Smithsonian Institution in 2011. Displayed quietly alongside more celebrated national artifacts, the object struck her as historically significant yet largely absent from public memory. Reflecting on the experience, Clark questioned what it might mean if national attention had focused less on Confederate battle flag iconography and more on the moment of surrender itself. Through this work, she reframes surrender not as reconciliation between equal sides, but as the necessary dismantling of a system built upon racial brutality and Black enslavement.
As a domestic textile, a dish towel is an intimate object — handled, folded, and worn through repeated labor. In Clark’s dimensional print, the towel’s woven structure and material presence are carefully emphasized, transforming a utilitarian cloth into a charged historical artifact. Rather than erasing historical tension, Clark preserves it through tactile processes that insist on both material and historical memory. Her work functions as what she has described as an act of magnification: bringing visibility to an object and history that have remained largely overlooked.
Through Confederate, surrender, Clark shifts national memory away from the glorification of Confederate imagery and toward the moment of the Confederacy’s collapse. The title itself serves as a direct command for confederates, insurrectionists, and white supremacists to surrender. In doing so, the work commemorates not only the fall of the Confederacy but also the ongoing and unfinished struggle for racial justice that began with emancipation and continues today."*
*Excerpted from the publication “Unfinished Republic: America at 250,” ISBN: 979-8-3507-6518-2, page 6.
"In Lips, Joyce J. Scott transforms a familiar human feature into a powerful sculptural form charged with dark humor, beauty, and cultural critique. Created through her signature peyote-stitch beadwork technique, the work reflects Scott’s sustained engagement with race, stereotyping, identity, spirituality, and the body. The exaggerated lips evoke racist caricatures historically imposed upon Black people, while reclaiming those forms through virtuoso craftsmanship, wit, and material transformation.
Scott later adapted Lips into a monumental marble and glass mosaic floor medallion for Ronald Reagan Washington National Airport, translating the intimacy of beadwork into architecture and public space. Encountered by millions of travelers each year, the work expands Scott’s visual language beyond the gallery, embedding questions of representation and visibility within the everyday movement of public life.
For Scott, beadwork functions as both artistic practice and storytelling, transforming materials traditionally associated with craft into vehicles for social commentary and cultural memory. Lips connects bodily form with voice, presence, and self-expression, challenging viewers to consider how the complexity of the body can become a site of projection, memory, hatred, resistance, beauty, and transformation."*
*Excerpted from the publication “Unfinished Republic: America at 250,” ISBN: 979-8-3507-6518-2, page 8.
Joyce J. Scott Ancestry / Progeny, 2008
Porcelain figures, glass beads, thread
Installed approx: 20 x 14 x 4 in. (50.8 x 35.6 x 10.2 cm)
Beaded head: 7.5 x 6 x 4.25 in. (19.1 x 15.2 x 11.4 cm)
Male figure: 12.5 x 5.5 x 2.5 in. (31.8 x 14 x 6.3 cm)
Female figure: 12.5 x 4.5 x 3.5 in. (31.8 x 11.4 x 8.9 cm)
SCO-0367-C
"Ancestry / Progeny stages a charged encounter between objects that carry the weight of historical memory and inherited power. Repurposed Colonial-era figurines are arranged in an uneasy formation, their gazes directed upward toward a beaded Black head rendered with Scott’s signature precision and tactile intensity. Both theatrical and confrontational, the work compresses centuries of racial hierarchy, domination, and cultural distortion into a tightly constructed tableau.
Scott draws upon the visual language of ornament and craft to expose the ideologies embedded within objects. The Colonial figurines — once symbols of refinement, order, and status — become unsettling witnesses, their authority destabilized by their proximity to the central figure. The beaded head, at once deeply human and symbolic, resists reduction even as it evokes histories of enslavement, objectification, and erasure.
The work operates in the space between beauty and unease, seduction and critique. By bringing together disparate materials and fraught iconographies, Scott reveals how cultural inheritance is never neutral, but shaped by structures of power, memory, and the enduring echoes of colonialism.
Ancestry / Progeny asks viewers to consider what is passed down, what is preserved, and what histories remain unresolved."*
*Excerpted from the publication “Unfinished Republic: America at 250,” ISBN: 979-8-3507-6518-2, page 12.
Louise Fishman ANGRY HILLARY, 2008
Acrylic on paper
Paper: 27.25 x 40.25 in. (27.25 x 40.25 cm)
Frame: 31.25 x 45.25 in. (79.4 x 114.9 cm)
Fish-1087-C
Courtesy The Louise Fishman Estate
"Angry Hillary emerges from Louise Fishman’s historically significant and influential Angry Women series, created in 1973, in which the artist paired the word “ANGRY” with women’s names and surrounded them with charged, gestural abstraction. Across the series, Fishman rejected compositional harmony in favor of urgency, fragmentation, and visible painterly force — a visual language shaped by feminist consciousness and her refusal of the inherited conventions of male-dominated abstraction.
Years after the series completion, Fishman returned to it in 2008 to create Angry Hillary, based on Hillary Clinton, a public figure whose career has been persistently shaped by the expectations and constraints imposed upon women in positions of power. Rather than functioning as a conventional portrait, Angry Hillary operates as a field of tension in which language, gesture, and paint collide. Its layered surface carries a sense of accumulation and disruption, as color and mark resist resolution and instead sustain conflict in suspension.
Like the earlier works in the Angry Women series, Angry Hillary refuses closure. Here, the word “ANGRY” functions not as a fixed label, but as an expansive political and emotional condition — one that speaks to histories of frustration, exclusion, resistance, and endurance experienced by women navigating systems historically structured to marginalize them.
Fishman’s practice transformed abstraction into a site of embodiment, rupture, and lived experience. In Angry Hillary, that legacy continues. Abstraction becomes a means of holding pressure rather than resolving it, allowing emotion, politics, and form to coexist without reconciliation."*
*Excerpted from the publication “Unfinished Republic: America at 250,” ISBN: 979-8-3507-6518-2, page 14.
Joyce J. Scott Oh Say Can You See, 2016
Wood, glass beads, metal
8 x 10 x 15 in. (20.3 x 25.4 x 38.1 cm)
Scot-1102-C
"In Oh Say Can You See, Joyce J. Scott assembles a provocative constellation of objects — including a decommissioned handgun, a carved wooden nutcracker in the form of a woman, and a meticulously beaded phallus — to deliver a searing critique of American culture and its contradictions. Combining humor, violence, sexuality, and craft, Scott exposes the ways power is encoded within race, gender, nationalism, and the mythology of the American dream.
The title invokes the opening line of the United States national anthem, yet the work poses a more difficult question: what, exactly, are Americans willing to see? Scott juxtaposes symbols of domination, desire, and domesticity to confront a society shaped by gun violence, misogyny, racial inequity, and spectacle. The carved wooden female nutcracker — a figure whose body is literally engineered for crushing nuts— introduces domesticity as a mechanism of both labor and control. The beaded phallus and American flag elements further complicate the scene, entangling sexuality, nationalism, and craft within a shared visual field. The inclusion of a real firearm grounds the work in lived danger and historical trauma, intensifying the tension between ornament, violence, and cultural meaning.
Throughout her career, Scott has used beadwork and repurposed objects to challenge distinctions between fine art and craft while confronting systems of oppression with biting wit and unflinching clarity. In Oh Say Can You See, satire becomes a strategy and weapon, dismantling safe national narratives by revealing an America in which violence, consumption, sexuality, and power remain deeply intertwined."*
*Excerpted from the publication “Unfinished Republic: America at 250,” ISBN: 979-8-3507-6518-2, page 16.
Kyle Hackett After Private John Hackett, 2022
Oil paint on aluminum
30 x 24 in. (76.2 x 61 cm)
Hack-1012-C
"Kyle Hacket, in his own words, explains that this work is informed by research into his second great-grandfather, John Hackett, who served in the Union Army during the American Civil War, and became a foundational figure in the family’s Maryland roots. Born into slavery around 1845, John Hackett’s life followed a remarkable trajectory — from enslavement to service on the front lines of the Civil War, and ultimately to civic leadership in the postwar period.
The artist depicts himself in uniform as a way of connecting to and reclaiming this lineage, channeling the legacy of John Hackett’s service in the 29th United States Colored Troops. Through military enlistment, J. Hackett gained his freedom and witnessed pivotal moments in American history, including surviving the Battle of the Crater in Petersburg, Virginia, and standing in Galveston, Texas, on June 19, 1865, as Union forces enforced emancipation on what would become known as Juneteenth.
By engaging J. Hackett’s military service and his later life as a homeowner in the artist’s hometown, the work reflects on ancestry as both personal inheritance and historical record. It positions Hackett as a patriarchal figure within the family line while also considering the artist’s present-day relationship to that legacy. Ultimately, the work functions as a form of research and reflection, situating personal history within the broader narrative of the American story."*
*Excerpted from the publication “Unfinished Republic: America at 250,” ISBN: 979-8-3507-6518-2, page 18.
"There is perhaps no story more distinctly American than that of the Scott family. Through the work of Elizabeth Talford Scott, Joyce J. Scott, and generations before them, fabric becomes testimony. Quilts become archives. Everyday materials become vessels of memory, resistance, ingenuity, spirituality, and love. These works remind us that history is not only recorded in written books — it is stitched into cloth, carried through stories, and preserved within families.
For the Scotts, quilts function not only as artistic expression, but also as diaries, memory keepers, and acts of resistance. As Joyce J. Scott has described them, early quilts were “diaries for preliterate people” — visual records layered with oral histories, coded narratives, family lore, survival strategies, and expressions of care. These were not static or purely decorative objects; they were often used, repaired, layered, and passed through generations. Over time, they became repositories of touch, memory, and testimony. When quilts became worn or stained, new fabric was added — what Joyce and Elizabeth referred to as “new pages in the book.” In Elizabeth’s hands, stitches became words. Words became paragraphs. Fabric became history.
The materials themselves carry meaning. Rooted in a philosophy of transformation, discarded textiles were cleaned, repurposed, and spiritually renewed. Printed text and graphics on feed sacks became tools of learning, making quilting at once communal, educational, spiritual, and ceremonial. Sugar sacks, grain and salt bags, natural dyes, recycled clothing, upcycled neckties, garments from Elizabeth’s migration “Upsouth” during the 1940s, fiber knots, rocks, buttons, and other repurposed materials all entered the work.
The imagery within these quilts often reflects memories from childhood — insects, plants, stars, maps, and light — symbols drawn from observation, imagination, spirituality, and lived experience. Some objects were created in relation to the body, such as the Shield seen here. These works were believed to carry medicinal and protective properties, while their physical weight — sometimes created through the addition of rocks or prayer beads — was thought to help ease pain. Together, they affirm quilting not only as an artistic practice, but as a living language of survival, storytelling, and cultural memory, sustained through a deeply personal and intergenerational voice."*
*Excerpted from the publication “Unfinished Republic: America at 250,” ISBN: 979-8-3507-6518-2, page 20.
"There is perhaps no story more distinctly American than that of the Scott family. Through the work of Elizabeth Talford Scott, Joyce J. Scott, and generations before them, fabric becomes testimony. Quilts become archives. Everyday materials become vessels of memory, resistance, ingenuity, spirituality, and love. These works remind us that history is not only recorded in written books — it is stitched into cloth, carried through stories, and preserved within families.
For the Scotts, quilts function not only as artistic expression, but also as diaries, memory keepers, and acts of resistance. As Joyce J. Scott has described them, early quilts were “diaries for preliterate people” — visual records layered with oral histories, coded narratives, family lore, survival strategies, and expressions of care. These were not static or purely decorative objects; they were often used, repaired, layered, and passed through generations. Over time, they became repositories of touch, memory, and testimony. When quilts became worn or stained, new fabric was added — what Joyce and Elizabeth referred to as “new pages in the book.” In Elizabeth’s hands, stitches became words. Words became paragraphs. Fabric became history.
The materials themselves carry meaning. Rooted in a philosophy of transformation, discarded textiles were cleaned, repurposed, and spiritually renewed. Printed text and graphics on feed sacks became tools of learning, making quilting at once communal, educational, spiritual, and ceremonial. Sugar sacks, grain and salt bags, natural dyes, recycled clothing, upcycled neckties, garments from Elizabeth’s migration “Upsouth” during the 1940s, fiber knots, rocks, buttons, and other repurposed materials all entered the work.
The imagery within these quilts often reflects memories from childhood — insects, plants, stars, maps, and light — symbols drawn from observation, imagination, spirituality, and lived experience. Some objects were created in relation to the body, such as the Shield seen here. These works were believed to carry medicinal and protective properties, while their physical weight — sometimes created through the addition of rocks or prayer beads — was thought to help ease pain. Together, they affirm quilting not only as an artistic practice, but as a living language of survival, storytelling, and cultural memory, sustained through a deeply personal and intergenerational voice."*
*Excerpted from the publication “Unfinished Republic: America at 250,” ISBN: 979-8-3507-6518-2, page 20.
Kyle Hackett After Judgement, 2018
Oil paint on panel
48 x 28 in. (121.9 x 71.1 cm)
Hack-1013-C
"After Judgement is among the artist’s earliest self-portraits in regalia. The painting was inspired by his experiences as a faculty member in academia, as well as his roles as commencement speaker at his high school and at the convocation of his alma mater college. Through these experiences, he became interested in institutional hierarchy and its implications for status, posture, and positioning. At the same time, his work is attentive to the human dimensions that underlie these structures, as well as the distinctions of costume and symbolic presentation. He considers the complex psychological dynamics of regalia within institutional contexts and how these relate to power structures and the politics of visual representation."*
*Excerpted from the publication “Unfinished Republic: America at 250,” ISBN: 979-8-3507-6518-2, page 22.
Joyce J. Scott Pussy Melon 2, 1995
Blown glass, glass beads, paint, thread
11 x 14 x 8 in. (27.9 x 35.6 x 20.3 cm)
Scot-1105-C
"Joyce J. Scott’s Pussy Melon confronts the intertwined histories of racist and sexist language used to represent Black bodies and women’s sexuality. By merging the image of the watermelon — a racist trope long used to caricature Black people in the United States after emancipation — with explicit references to female anatomy, Scott exposes how ridicule, fetishization, and violence operate as embedded structures within American culture.
Inscribed along the edge of the glass melon rind is the text: “Girlfriend so juicy and so sweet. Ripe, red meat.”
The work resonates with misogynistic rhetoric that gained renewed public attention during the 2016 U.S. presidential election, following the resurfacing of Donald Trump’s 2005 Access Hollywood recording in which he boasted about forcibly “grabbing women by the pussy.” The work draws a connection between degradation and sexual aggression as mutually reinforcing systems of power."*
*Excerpted from the publication “Unfinished Republic: America at 250,” ISBN: 979-8-3507-6518-2, page 24.
[Harriet's] Rifle, 2017
Blown glass, glass beads
12 x 47 x 5 in. (30.5 x 119.4 x 12.7 cm)
Scot-1134-C
"Harriet's Rifle reimagines the gun not as a symbol of conquest, but as a complicated instrument of survival, resistance, and liberation. Created in Baltimore with the assistance of Tim McFadden for Joyce J. Scott’s exhibition at Grounds For Sculpture in NJ, the luminous green glass rifle references Harriet Tubman, who famously carried a rifle while guiding enslaved people to freedom along the Underground Railroad. For Harriet Tubman, the weapon represented protection, resolve, and a refusal to allow fugitives to be forced back into enslavement. The artist recognized a similar fierce determination in her own mother, Elizabeth Talford Scott, who was known to keep a shotgun by the front door for protection.
Scott transforms this history through fragile blown glass, beadwork, and radiant color — materials traditionally associated with beauty and delicacy rather than strength or force. The contradiction is intentional: the rifle appears powerful yet could shatter upon impact. In Scott’s hands, the object becomes both memorial and warning, a meditation on the complicated role of violence within struggles for freedom and justice. By invoking Tubman’s legacy alongside contemporary debates surrounding guns in America, Scott asks viewers to consider when resistance becomes necessary, who is permitted to wield power, and how histories of survival continue to shape the present."*
*Excerpted from the publication “Unfinished Republic: America at 250,” ISBN: 979-8-3507-6518-2, page 26.
Soledad Salamé Layered News (Border Crisis), 2019
Embroidered pigment print on Fabriano paper
Print: 12 x 12 in. ( 30.5 x 30.5 cm)
Frame: 17 x 16 in. ( 43.8 x 40.6 cm)
Edition of 5
Sala-1250-C
"In this series of works on paper, Soledad Salamé transforms contemporary newspapers into layered fields of image, text, and material culture rich with commentary and critique. Drawing from printed headlines, photographs, and media imagery, she reworks the visual language of daily news into compositions that both document and question the forces shaping public understanding.
At the center of this body of work is an examination of how information is produced, circulated, and consumed in the United States. Responding to the relentless flow of breaking news, political rhetoric, and crisis reporting, Salamé underscores the fragility of collective memory and the speed at which events are absorbed, forgotten, or reframed. The works evoke a society in constant motion — defined by urgency, contradiction, and competing claims to truth.
Rather than offering resolution, Salamé’s interventions emphasize accumulation, residue, and interruption. Ink bleeds, fragments persist, and traces of headlines remain embedded within layered surfaces like sediment. In this way, the works function simultaneously as archive and disruption: recording contemporary America while resisting the authority of any singular narrative.
Salamé’s practice ultimately turns attention back onto the viewer, asking not only what is reported, but how meaning itself is constructed, contested, and continually rewritten within the public sphere —and what it reveals about us as a society through the act of our own reporting."*
*Excerpted from the publication “Unfinished Republic: America at 250,” ISBN: 979-8-3507-6518-2, page 28.
Soledad Salamé Layered News (Obama), 2019
Embroidered pigment print on Fabriano paper
Paper: 11.5 x 13 in. (29.2 x 33 cm)
Frame: 16 x 17.25 in. (40.6 x 43.8 cm)
Edition of 5
Sala-1252-C
"In this series of works on paper, Soledad Salamé transforms contemporary newspapers into layered fields of image, text, and material culture rich with commentary and critique. Drawing from printed headlines, photographs, and media imagery, she reworks the visual language of daily news into compositions that both document and question the forces shaping public understanding.
At the center of this body of work is an examination of how information is produced, circulated, and consumed in the United States. Responding to the relentless flow of breaking news, political rhetoric, and crisis reporting, Salamé underscores the fragility of collective memory and the speed at which events are absorbed, forgotten, or reframed. The works evoke a society in constant motion — defined by urgency, contradiction, and competing claims to truth.
Rather than offering resolution, Salamé’s interventions emphasize accumulation, residue, and interruption. Ink bleeds, fragments persist, and traces of headlines remain embedded within layered surfaces like sediment. In this way, the works function simultaneously as archive and disruption: recording contemporary America while resisting the authority of any singular narrative.
Salamé’s practice ultimately turns attention back onto the viewer, asking not only what is reported, but how meaning itself is constructed, contested, and continually rewritten within the public sphere —and what it reveals about us as a society through the act of our own reporting."*
*Excerpted from the publication “Unfinished Republic: America at 250,” ISBN: 979-8-3507-6518-2, page 28.
Soledad Salamé Layered News, NY/9-11, 2019
Monoprint with hand painting on Fabriano paper
Print: 15.5 x 12.5 in. ( 39.4 x 31.8 cm)
Frame: 20.5 x 17.75 in. ( 52 x 45 cm)
Edition 1 of 1
Sala-1255-C
"In this series of works on paper, Soledad Salamé transforms contemporary newspapers into layered fields of image, text, and material culture rich with commentary and critique. Drawing from printed headlines, photographs, and media imagery, she reworks the visual language of daily news into compositions that both document and question the forces shaping public understanding.
At the center of this body of work is an examination of how information is produced, circulated, and consumed in the United States. Responding to the relentless flow of breaking news, political rhetoric, and crisis reporting, Salamé underscores the fragility of collective memory and the speed at which events are absorbed, forgotten, or reframed. The works evoke a society in constant motion — defined by urgency, contradiction, and competing claims to truth.
Rather than offering resolution, Salamé’s interventions emphasize accumulation, residue, and interruption. Ink bleeds, fragments persist, and traces of headlines remain embedded within layered surfaces like sediment. In this way, the works function simultaneously as archive and disruption: recording contemporary America while resisting the authority of any singular narrative.
Salamé’s practice ultimately turns attention back onto the viewer, asking not only what is reported, but how meaning itself is constructed, contested, and continually rewritten within the public sphere —and what it reveals about us as a society through the act of our own reporting."*
*Excerpted from the publication “Unfinished Republic: America at 250,” ISBN: 979-8-3507-6518-2, page 28.
Paul Rucker FOREVER: Medgar Evers, June 12, 1963. Jackson, Mississippi
Fujicolor Crystal Archive emulsion sealed between solid recycled aluminum and a high-gloss UV protective laminate
40 x 30 in. (101.6 x 76.2 cm)
Edition of 18
"FOREVER examines the history of civil rights martyrs—individuals and communities who were victims of racially motivated violence in the United States yet remain absent from many official systems of remembrance, including the commemorative narratives of U.S. postage stamps. Through this series, Paul Rucker confronts the politics of visibility and erasure, asking who is deemed worthy of national honor, and what forces shape those decisions.
By recontextualizing archival absence as a site of artistic intervention, FOREVER challenges viewers to consider how collective memory is constructed, maintained, and selectively forgotten. The works do not simply memorialize the dead; they interrogate the systems that determine which lives are publicly mourned and which are left unmarked.
In doing so, the series expands the meaning of commemoration beyond official recognition, asserting remembrance as an active responsibility rather than a passive inheritance. It calls attention to the ongoing consequences of racial violence while insisting on the necessity of confronting historical truth as part of the present.
Together, these works form a counter-archive—one that restores presence where history has imposed silenceand insists that remembrance itself is a form of accountability."*
The series includes the following individuals and groups. Included in this exhibition are marked with an asterisk.
•*Medgar Wiley Evers (June 12, 1963): A civil rights activist and NAACP field secretary in Mississippi, Evers was murdered in his own driveway by a white segregationist.
•*Emmett Louis Till (August 28, 1955): A 14-year-old boy brutally beaten and murdered in Mississippi; recent admissions revealed that the testimony used against him was fabricated.
•*16th Street Baptist Church Bombing (September 15, 1963): Addie Mae Collins, Denise McNair, Carole Robertson, and Cynthia Wesley were killed when a bomb planted by Ku Klux Klan members exploded at a Birmingham church.
•Viola Fauver Gregg Liuzzo (March 25, 1965): A white activist from Detroit who traveled to Selma to support the Civil Rights Movement, Liuzzo was killed by Ku Klux Klan members in Alabama.
•Edwin T. Pratt (January 26, 1969):The Executive Director of the Seattle Urban League, Pratt was shot at his home; the case remains officially unsolved.
•The Scottsboro Boys (March 24, 1931): Nine teenagers were arrested on minor charges in Alabama, then wrongfully accused of rape, leading to rushed trials, death sentences, and life in prison.
•Freedom Summer Murders (June 21-22, 1964): James Earl Chaney, Andrew Goodman, and Michael "Mickey" Schwerner were murdered in Neshoba County, Mississippi, by a group that included law enforcement and Klan members.
•Vernon Ferdinand Dahmer, Sr. (January 11, 1966): An NAACP leader in Hattiesburg, Mississippi, Dahmer died after his home was firebombed by individuals with Klan connections.
*Excerpted from the publication “Unfinished Republic: America at 250,” ISBN: 979-8-3507-6518-2, page 32.
Paul Rucker FOREVER: Emmett Louis Till, 2026 FOREVER: Four Little Girls, 2026
Perforated postage stamp with dry, water-activated gum adhesive and dextrin, diptych
Paper: 8.5 x 11 in. each (21.6 x 27.9 cm)
Frame: 21.25 x 27.75 in. (54 x 70.5 cm)
Edition of 32
"FOREVER examines the history of civil rights martyrs—individuals and communities who were victims of racially motivated violence in the United States yet remain absent from many official systems of remembrance, including the commemorative narratives of U.S. postage stamps. Through this series, Paul Rucker confronts the politics of visibility and erasure, asking who is deemed worthy of national honor, and what forces shape those decisions.
By recontextualizing archival absence as a site of artistic intervention, FOREVER challenges viewers to consider how collective memory is constructed, maintained, and selectively forgotten. The works do not simply memorialize the dead; they interrogate the systems that determine which lives are publicly mourned and which are left unmarked.
In doing so, the series expands the meaning of commemoration beyond official recognition, asserting remembrance as an active responsibility rather than a passive inheritance. It calls attention to the ongoing consequences of racial violence while insisting on the necessity of confronting historical truth as part of the present.
Together, these works form a counter-archive—one that restores presence where history has imposed silenceand insists that remembrance itself is a form of accountability."*
The series includes the following individuals and groups. Included in this exhibition are marked with an asterisk.
•*Medgar Wiley Evers (June 12, 1963): A civil rights activist and NAACP field secretary in Mississippi, Evers was murdered in his own driveway by a white segregationist.
•*Emmett Louis Till (August 28, 1955): A 14-year-old boy brutally beaten and murdered in Mississippi; recent admissions revealed that the testimony used against him was fabricated.
•*16th Street Baptist Church Bombing (September 15, 1963): Addie Mae Collins, Denise McNair, Carole Robertson, and Cynthia Wesley were killed when a bomb planted by Ku Klux Klan members exploded at a Birmingham church.
•Viola Fauver Gregg Liuzzo (March 25, 1965): A white activist from Detroit who traveled to Selma to support the Civil Rights Movement, Liuzzo was killed by Ku Klux Klan members in Alabama.
•Edwin T. Pratt (January 26, 1969):The Executive Director of the Seattle Urban League, Pratt was shot at his home; the case remains officially unsolved.
•The Scottsboro Boys (March 24, 1931): Nine teenagers were arrested on minor charges in Alabama, then wrongfully accused of rape, leading to rushed trials, death sentences, and life in prison.
•Freedom Summer Murders (June 21-22, 1964): James Earl Chaney, Andrew Goodman, and Michael "Mickey" Schwerner were murdered in Neshoba County, Mississippi, by a group that included law enforcement and Klan members.
•Vernon Ferdinand Dahmer, Sr. (January 11, 1966): An NAACP leader in Hattiesburg, Mississippi, Dahmer died after his home was firebombed by individuals with Klan connections.
*Excerpted from the publication “Unfinished Republic: America at 250,” ISBN: 979-8-3507-6518-2, page 32.
Paul Rucker Maggie Walker $300, 2026
Archival pigment print on Moab 300GSM paper
Paper: 13 x 19 in. (33 x 48.2 cm)
Frame: 17.75 x 23.5 in. (45 x 60 cm)
Edition of 10
Ruck-1003-C
"These works commemorate two historically significant figures connected to America’s Black Wall Streets.
One figure honored here is Maggie Lena Walker of Richmond, VA. Born on July 15, 1864, Walker was a businesswoman, teacher, and civic leader who, in 1903, became the first African American woman to charter a bank and the first to serve as a bank president in the United States. Guided by a vision of economic empowerment and self-determination, she worked to create tangible improvements in the lives of African Americans through business, education, and community leadership. Later in life, despite paralysis and the use of a wheelchair, Walker continued her advocacy and public leadership, helping to expand visibility and inclusion for people with disabilities.
The second figure honored is John Merrick of Durham, NC. Born into slavery in 1859 in Clinton, North Carolina, Merrick became one of the most influential African American business leaders of his era. He founded several successful enterprises in the Raleigh and Durham region, most notably the North Carolina Mutual Life Insurance Company. Through entrepreneurship and philanthropy, Merrick reinvested in the Black community, advancing economic opportunity, education, and collective progress."*
*Excerpted from the publication “Unfinished Republic: America at 250,” ISBN: 979-8-3507-6518-2, page 34.
Paul Rucker John Merrick $75, 2026
Archival pigment print on Moab 300GSM paper
Paper: 13 x 19 in. (33 x 48.2 cm)
Frame: 17.75 x 23.5 in. (45 x 60 cm)
Edition of 10
Ruck-1004-C
"These works commemorate two historically significant figures connected to America’s Black Wall Streets.
One figure honored here is Maggie Lena Walker of Richmond, VA. Born on July 15, 1864, Walker was a businesswoman, teacher, and civic leader who, in 1903, became the first African American woman to charter a bank and the first to serve as a bank president in the United States. Guided by a vision of economic empowerment and self-determination, she worked to create tangible improvements in the lives of African Americans through business, education, and community leadership. Later in life, despite paralysis and the use of a wheelchair, Walker continued her advocacy and public leadership, helping to expand visibility and inclusion for people with disabilities.
The second figure honored is John Merrick of Durham, NC. Born into slavery in 1859 in Clinton, North Carolina, Merrick became one of the most influential African American business leaders of his era. He founded several successful enterprises in the Raleigh and Durham region, most notably the North Carolina Mutual Life Insurance Company. Through entrepreneurship and philanthropy, Merrick reinvested in the Black community, advancing economic opportunity, education, and collective progress."*
*Excerpted from the publication “Unfinished Republic: America at 250,” ISBN: 979-8-3507-6518-2, page 34.
Joyce J. Scott Sex Traffic, 2014
Hand-blown Murano glass, metal, glass beads, thread, leather
76 x 16 x 9.5 in. (193 x 40.6 x 24.1 cm)
Scot-1068-C
"Joyce J. Scott’s Sex Traffic confronts the intertwined violence of exploitation and America’s enduring relationship with guns. Constructed as a monumental musket from blown glass, beads, leather, and thread, the work depicts a bound female figure attached to the weapon’s barrel, invoking the brutal realities of human trafficking and the commodification of women’s bodies. The gun’s exaggerated scale and overtly phallic form connect sexual violence to broader structures of domination, power, and fear.
Yet Scott deliberately undermines the weapon’s authority through her use of fragile materials. Constructed from glass and beadwork, the gun could never function without destroying itself, transforming the object into a metaphor for the instability and self-destructive nature of violence. Created amid ongoing national debates surrounding gun control, sexual exploitation, and systemic inequality, Sex Traffic remains urgently relevant as conversations around bodily autonomy, gendered violence, and the trafficking of vulnerable people continue worldwide. Through beauty, discomfort, and contradiction, Scott compels viewers to confront how violence is normalized, consumed, and embedded within contemporary culture."*
*Excerpted from the publication “Unfinished Republic: America at 250,” ISBN: 979-8-3507-6518-2, page 36.
Kyle Hackett For A.G. Gaston (Birmingham), 2025
Oil paint on canvas
50 x 73 in. ( 127 x 185 cm)
Hack-1011-C
"ForA.G. Gaston (Birmingham) marks a pivotal shift in the practice of Kyle Hackett. The painting foregrounds tensions between institutional archives and personal memory, engaging the traditions of history painting through a more intimate, salon-style lens. Hackett approaches group portraiture as both image and artifact, incorporating photographic source material and the visible “wear and tear” of archival forms to examine how identity is constructed within historical representation. Central to the work is the question of how painting can operate both within and against the conventions it inherits.
The painting emerged from Hackett’s 2023 solo exhibition Circular Narratives and a research trip to Birmingham, where he studied the layered histories surrounding sites such as the A. G. Gaston Motel. During segregation, the motel provided first-class accommodations, including air conditioning, for Black travelers navigating the restrictions of Jim Crow. It also served as a gathering place for civil rights leaders including Malcolm X and Martin Luther King Jr. before becoming the target of bombing and vandalism in 1963. The building later closed in 1986 and was subsequently repurposed as a senior living residence. Today, as a Smithsonian-affiliated landmark, the Gaston Motel stands as an important archive of Black leadership and Birmingham’s complex civic history.
In For A.G. Gaston (Birmingham), Hackett transposes a photograph — originally taken after returning home to deliver his high school commencement address — depicting his brother and a close friend onto a backdrop derived from the motel’s promotional brochure. In doing so, he symbolically carries family into the archive, collapsing temporal and spatial distance. Hackett’s brother not only accompanied him during the Birmingham research trip, but also contributed to the exhibition’s curation, reinforcing the work’s grounding in lived experience and relational memory.
The painting operates simultaneously as a tribute to personal relationships and as a meditation on the national histories that shape them. Through this synthesis of intimacy, archival reference, and material citation, Hackett reframes painting as both witness to and participant in the ongoing construction of historical meaning."*
*Excerpted from the publication “Unfinished Republic: America at 250,” ISBN: 979-8-3507-6518-2, page 38.
Joyce J. Scott Excessive Force, 2018
Glass beads, thread, glass, faux bullets
Bullets: each measures 2.88 x 0.75 x 0.75 in. (7.3 x 1.9 x 1.9 cm)
Butterfly: 3.5 x 3.25 x 1.25 in. (8.9 x 8.3 x 3.2 cm)
Scot-1151-C
Each beaded bullet features initials of individuals connected to incidents of police violence, excessive force, and racial injustice, including Kathryn Johnston, Tamir Rice, Korryn Gaines, Trayvon Martin, Rodney King, Michael Brown, Philando Castile, Sandra Bland, Amadou Diallo, Freddie Gray, Erica Garner, and Tanisha Anderson. Eric Garner is represented as a butterfly.
"Excessive Force is deliberately titled to reflect the broader structures and manifestations of violence embedded within contemporary policing. Although the imagery of bullets may initially suggest gun violence, the work does not refer exclusively to firearm-related deaths. Instead, the bullets function symbolically, standing in for violence in its many institutional and bodily forms. This distinction is central to the conceptual framework of the piece.
The deaths of individuals such as Eric Garner, who died from compression of the neck, and Freddie Gray, who suffered a fatal spinal cord injury while in police custody, exemplify forms of state violence that extend beyond the discharge of a weapon. Their deaths underscore how excessive force operates not only through firearms, but also through restraint, physical domination, and the unequal distribution of power between law enforcement and civilians.
The police weapon functions not only as an instrument of physical force, but as a symbol of institutional authority and coercive power. Its visible presence — and the authority to use it — fundamentally alters encounters marked by tension and vulnerability, reinforcing asymmetrical relations of control. Incidents such as the beating of Rodney King demonstrate how such imbalances can escalate into acts of excessive force, even when firearms are not discharged.
Excessive Force should therefore be understood not as a commentary limited to gun violence, but as an examination of systemic violence more broadly: the ways authority, intimidation, and bodily harm converge within the mechanisms of policing and public power."*
Excerpted from the publication “Unfinished Republic: America at 250,” ISBN: 979-8-3507-6518-2, page 40.
Soledad Salamé Gulf Distortion IV, 2011
Silkscreen on mylar
Print: 22.5 x 32.5 in. (57.2 x 82.6 cm)
Frame: 28 x 37 in. (71.1 x 94 cm)
AP Edition 3 of 5
Sala-1131-C
"In Gulf Distortion, Soledad Salamé responds to the environmental and political aftermath of the 2010 Deepwater Horizon oil spill along the Gulf Coast. Developed from photographs taken in Louisiana—particularly in the Venice and Grand Isle regions—the series transforms documentary imagery into fractured, layered compositions that oscillate between representation and abstraction.
Working through printmaking processes that incorporate silkscreen, hand intervention, and digital degradation, Salamé deliberately disrupts photographic clarity. She employed technologies such as fax transmissions to further distort the images, introducing interference pixelation, and visual “noise” that echoes the instability of the affected environment.
The resulting works shift between fragile coastal landscapes and the encroaching infrastructures of extraction—oil storage facilities, industrial machinery, and traces of environmental devastation. The series charts a transformation in which natural beauty is progressively overtaken by the visual and material presence of industry and disaster.
Rather than presenting a singular narrative of catastrophe, Gulf Distortion constructs an unstable field of perception. The Gulf emerges as both subject and metaphor: a site where human intervention, environmental collapse, media circulation, and political neglect converge. Through strategies of distortion, Salamé resists the fixity of documentary truth, instead offering a vision of a landscape in flux—shaped as much by ecological trauma as by the systems that mediate and record it."*
*Excerpted from the publication “Unfinished Republic: America at 250,” ISBN: 979-8-3507-6518-2, page 44.
Soledad Salamé Gulf Distortion XII, 2011
Silkscreen on mylar
Print: 22.5 x 32.5 in. (57.2 x 82.6 cm)
Frame: 28 x 37 in. (71.1 x 94 cm)
AP Edition 3 of 5
Sala-1138-C
"In Gulf Distortion, Soledad Salamé responds to the environmental and political aftermath of the 2010 Deepwater Horizon oil spill along the Gulf Coast. Developed from photographs taken in Louisiana—particularly in the Venice and Grand Isle regions—the series transforms documentary imagery into fractured, layered compositions that oscillate between representation and abstraction.
Working through printmaking processes that incorporate silkscreen, hand intervention, and digital degradation, Salamé deliberately disrupts photographic clarity. She employed technologies such as fax transmissions to further distort the images, introducing interference pixelation, and visual “noise” that echoes the instability of the affected environment.
The resulting works shift between fragile coastal landscapes and the encroaching infrastructures of extraction—oil storage facilities, industrial machinery, and traces of environmental devastation. The series charts a transformation in which natural beauty is progressively overtaken by the visual and material presence of industry and disaster.
Rather than presenting a singular narrative of catastrophe, Gulf Distortion constructs an unstable field of perception. The Gulf emerges as both subject and metaphor: a site where human intervention, environmental collapse, media circulation, and political neglect converge. Through strategies of distortion, Salamé resists the fixity of documentary truth, instead offering a vision of a landscape in flux—shaped as much by ecological trauma as by the systems that mediate and record it."*
*Excerpted from the publication “Unfinished Republic: America at 250,” ISBN: 979-8-3507-6518-2, page 44.
Joyce J. Scott Milk Mammy 2, 2012-2014
Hand-blown Murano glass, glass beads, wire, thread, plastic dice
28.5 x 7.75 x 7.75 in. (72.4 x 19.7 x 19.7 cm)
Scot-1000-C
"Joyce J. Scott’s Milk Mammy examines the enduring legacy of the “Mammy” stereotype in American history. Rooted in slavery and perpetuated through advertising, film, and popular culture, the figure of the Mammy romanticized the exploitation of Black women and their labor—particularly the history of enslaved women forced to nurse, nurture, and raise white children while their own families were separated or denied the same care.
By pairing maternal imagery with references to milk and the body, Scott exposes how women’s caregiving, sexuality, and physical labor were commodified under slavery and continue to shape cultural expectations today. At the same time, the work honors the beauty, strength, and emotional complexity of caregiving itself—labor that remains essential to American society yet continues to be disproportionately carried by women, and too often undervalued, underpaid, or rendered invisible.
Scott challenges viewers to confront the persistence of these stereotypes within American memory and visual culture while recognizing the humanity and resilience of those whose generous care has sustained generations."
*Excerpted from the publication “Unfinished Republic: America at 250,” ISBN: 979-8-3507-6518-2, page 46.
Sonya Clark The Huest Eye, 2023-2024
Embroidered thread on Rives BFK paper
36 x 24 in. (91.4 x 61 cm)
Edition of 12
Published by Goya Contemporary / Goya-Girl Press
"Sonya Clark’s two editions, The Huest Eye and The Bluest, Twisted, center on Toni Morrison’s groundbreaking 1970 novel The Bluest Eye, a work the artist has read more than thirty times. Through embroidery and lithography, Clark creates a powerful visual dialogue that confronts and redresses American constructions of beauty, centers Blackness, and exposes the enduring effects of internalized racism.
One of the most influential writers and intellectuals of the twentieth century, Morrison challenged Western beauty standards that privileged Whiteness while marginalizing Blackness. Set in Lorain, Ohio, during the 1940s, The Bluest Eye follows Pecola Breedlove, a young Black girl navigating racism, violence, and social rejection while longing for acceptance and beauty.
Morrison’s symbolic use of color is central to Clark’s interpretation. In The Huest Eye, Clark translates the 473 colors referenced throughout Morrison’s text into embroidered blocks of thread that function as visual equivalents of the written language. As Clark explains, “In The Huest Eye, the colors follow the order in which they appear in the writing. The length of each color block corresponds to the length of the word. Red is a short block, whereas purple is longer.” She also notes that passages referencing the Dick and Jane stories are rendered through compressed green and white sections, reflecting the novel’s increasingly fragmented typography and psychological tension.
“The colors are embroidered on paper to highlight the relationship between text, textile, and the fiber we grow—hair. It is also significant that Toni Morrison died the year the CROWN Act was passed, in 2019,” Clark states.
Clark conceived The Huest Eye in direct relationship to The Bluest, Twisted, describing the latter as “a solid mass.” In this work, Morrison’s novel is transliterated into “Twist,” an alphabet font Clark developed using the curl patterns of her own hair. Layered together, the text accumulates into a dense black form. Clark explains, “If you mixed all those referent colors together, one would arrive at black.” Once framed and glazed, the work becomes reflective, incorporating the viewer into its surface. “It is important the viewer sees themselves in this work,” Clark explains. “My font, made to reference African hair, resists the European dominance of the Roman alphabet’s widespread use. Twist re-centers Africa as the cradle of humanity. It returns us to our roots.”
Published by Goya Contemporary/Goya-Girl Press in collaboration with master printmaker Judith Solodkin of Solo Impression, NY, the editions translate Morrison’s themes into meticulously crafted embroidered and printed forms that examine how systems of discrimination are reinforced through language, representation, and cultural convention.
Morrison’s work fundamentally reshaped American literature and cultural discourse, and Clark’s practice likewise reflects a deep intentionality in confronting inherited systems of exclusion while affirming Black identity, history, and resilience. Their cultural impact is profound. Clark has often credited her ancestors as central influences on her worldview and speaks of Morrison as a heroic figure whose writing and activism have significantly shaped her artistic practice."*
*Excerpted from the publication “Unfinished Republic: America at 250,” ISBN: 979-8-3507-6518-2, page 48.
Sonya Clark The Bluest, Twisted, 2023-2024
Lithograph on Rives BFK paper
36 x 24 in. (91.4 x 61 cm)
Edition of 30
Published by Goya Contemporary / Goya-Girl Press
"Sonya Clark’s two editions, The Huest Eye and The Bluest, Twisted, center on Toni Morrison’s groundbreaking 1970 novel The Bluest Eye, a work the artist has read more than thirty times. Through embroidery and lithography, Clark creates a powerful visual dialogue that confronts and redresses American constructions of beauty, centers Blackness, and exposes the enduring effects of internalized racism.
One of the most influential writers and intellectuals of the twentieth century, Morrison challenged Western beauty standards that privileged Whiteness while marginalizing Blackness. Set in Lorain, Ohio, during the 1940s, The Bluest Eye follows Pecola Breedlove, a young Black girl navigating racism, violence, and social rejection while longing for acceptance and beauty.
Morrison’s symbolic use of color is central to Clark’s interpretation. In The Huest Eye, Clark translates the 473 colors referenced throughout Morrison’s text into embroidered blocks of thread that function as visual equivalents of the written language. As Clark explains, “In The Huest Eye, the colors follow the order in which they appear in the writing. The length of each color block corresponds to the length of the word. Red is a short block, whereas purple is longer.” She also notes that passages referencing the Dick and Jane stories are rendered through compressed green and white sections, reflecting the novel’s increasingly fragmented typography and psychological tension.
“The colors are embroidered on paper to highlight the relationship between text, textile, and the fiber we grow—hair. It is also significant that Toni Morrison died the year the CROWN Act was passed, in 2019,” Clark states.
Clark conceived The Huest Eye in direct relationship to The Bluest, Twisted, describing the latter as “a solid mass.” In this work, Morrison’s novel is transliterated into “Twist,” an alphabet font Clark developed using the curl patterns of her own hair. Layered together, the text accumulates into a dense black form. Clark explains, “If you mixed all those referent colors together, one would arrive at black.” Once framed and glazed, the work becomes reflective, incorporating the viewer into its surface. “It is important the viewer sees themselves in this work,” Clark explains. “My font, made to reference African hair, resists the European dominance of the Roman alphabet’s widespread use. Twist re-centers Africa as the cradle of humanity. It returns us to our roots.”
Published by Goya Contemporary/Goya-Girl Press in collaboration with master printmaker Judith Solodkin of Solo Impression, NY, the editions translate Morrison’s themes into meticulously crafted embroidered and printed forms that examine how systems of discrimination are reinforced through language, representation, and cultural convention.
Morrison’s work fundamentally reshaped American literature and cultural discourse, and Clark’s practice likewise reflects a deep intentionality in confronting inherited systems of exclusion while affirming Black identity, history, and resilience. Their cultural impact is profound. Clark has often credited her ancestors as central influences on her worldview and speaks of Morrison as a heroic figure whose writing and activism have significantly shaped her artistic practice."*
*Excerpted from the publication “Unfinished Republic: America at 250,” ISBN: 979-8-3507-6518-2, page 48.
![Joyce J. Scott
[Harriet's] Rifle, 2017
Blown glass, glass beads
12 x 47 x 5 in. (30.5 x 119.4 x 12.7 cm)
Scot-1134-C
"Harriet's Rifle reimagines the gun not as a symbol of conquest, but as a complicated instrument of survival, resistance, and liberation. Created in Baltimore with the assistance of Tim McFadden for Joyce J. Scott’s exhibition at Grounds For Sculpture in NJ, the luminous green glass rifle references Harriet Tubman, who famously carried a rifle while guiding enslaved people to freedom along the Underground Railroad. For Harriet Tubman, the weapon represented protection, resolve, and a refusal to allow fugitives to be forced back into enslavement. The artist recognized a similar fierce determination in her own mother, Elizabeth Talford Scott, who was known to keep a shotgun by the front door for protection.
Scott transforms this history through fragile blown glass, beadwork, and radiant color — materials traditionally associated with beauty and delicacy rather than strength or force.  The contradiction is intentional: the rifle appears powerful yet could shatter upon impact. In Scott’s hands, the object becomes both memorial and warning, a meditation on the complicated role of violence within struggles for freedom and justice. By invoking Tubman’s legacy alongside contemporary debates surrounding guns in America, Scott asks viewers to consider when resistance becomes necessary, who is permitted to wield power, and how histories of survival continue to shape the present."*
*Excerpted from the publication “Unfinished Republic: America at 250,” ISBN: 979-8-3507-6518-2, page 26.](https://static-assets.artlogic.net/w_1800,h_1000,c_limit/exhibit-e/60d360873baacb4f945010a9/1a9f2b89cdfcf619b17ad1e0f22e6e5f.jpeg)
![Joyce J. Scott
[Harriet's] Rifle, 2017
Blown glass, glass beads
12 x 47 x 5 in. (30.5 x 119.4 x 12.7 cm)
Scot-1134-C
"Harriet's Rifle reimagines the gun not as a symbol of conquest, but as a complicated instrument of survival, resistance, and liberation. Created in Baltimore with the assistance of Tim McFadden for Joyce J. Scott’s exhibition at Grounds For Sculpture in NJ, the luminous green glass rifle references Harriet Tubman, who famously carried a rifle while guiding enslaved people to freedom along the Underground Railroad. For Harriet Tubman, the weapon represented protection, resolve, and a refusal to allow fugitives to be forced back into enslavement. The artist recognized a similar fierce determination in her own mother, Elizabeth Talford Scott, who was known to keep a shotgun by the front door for protection.
Scott transforms this history through fragile blown glass, beadwork, and radiant color — materials traditionally associated with beauty and delicacy rather than strength or force.  The contradiction is intentional: the rifle appears powerful yet could shatter upon impact. In Scott’s hands, the object becomes both memorial and warning, a meditation on the complicated role of violence within struggles for freedom and justice. By invoking Tubman’s legacy alongside contemporary debates surrounding guns in America, Scott asks viewers to consider when resistance becomes necessary, who is permitted to wield power, and how histories of survival continue to shape the present."*
*Excerpted from the publication “Unfinished Republic: America at 250,” ISBN: 979-8-3507-6518-2, page 26.](https://static-assets.artlogic.net/w_647,h_647,c_limit/exhibit-e/60d360873baacb4f945010a9/1a9f2b89cdfcf619b17ad1e0f22e6e5f.jpeg)
