[1] Maurice Berger, “Interview with Adrian Piper” in Art, Activism, and Oppositionality: Essays from Afterimage, ed. Grant H Kester (Durham: Duke University Press, 1998), 229-30.

[2] Yumna Mohamed, “Kara Walker’s Works from Harper’s Pictorial History of the Civil War,” The Stream (blog), Harpers Magazine, July 6, 2012, http://harpers.org/blog/2012/07/kara-walkers-works-from-harpers-pictorial-history-of-the-civil-war/.

[3] Yasmil Raymond, “Maladies of Power: A Kara Walker Lexicon” in Kara Walker: My Complement, My Enemy, My Oppressor, My Love, ed. Kara Walker (Minneapolis: Walker Art Center, 2007), 350, 361.

[4] Darby English, How to See a Work of Art in Total Darkness (Cambridge, MA: MIT, 2007), 22. English writes “…Walker, by reference also to the conceptual interventions into the sanctity of the viewer’s space, explodes the pictorial confines of landscape representation in order to situate the viewer squarely in it.”

[5] Bob Nikas, “Adam Helms: Untitled Portrait,” World Class Boxing, Accessed June 22, 2014, http://www.worldclassboxing.org/exhibit_ahelms.php.

[6] Andrew M Goldstein, “Rashid Johnson on Making Art ‘About the Bigger Issues in Life’,” Artspace, December 31, 2013, Accessed June 20, 2014, http://www.artspace.com/magazine/interviews_features/rashid_johnson_interview.

[7] Nana Adusei-Poku, “The Multiplicity of Multiplicities – Post-Black Art and Its Intricacies,” in “Post-Racial Imaginaries,” special issue, Darkmatter Journal 9, no.2 (2012), http://www.darkmatter101.org/site/2012/11/29/the-multiplicity-of-multiplicities-%E2%80%93-post-black-art-and-its-intricacies/.

[8] Lisa G Corrin, “Mining the Museum: Artists Look at Museums, Museums Look at Themselves,” Mining the Museum: An Installation, ed. Fred Wilson and Lisa G. Corrin (Baltimore: Contemporary, 1994), 9.