Through monumental installations that function as both sculpture and stage, she transforms institutional spaces into battlegrounds of historical memory. Her work doesn't simply enter museums—it confronts them, inhabits them with a visceral, often violent recollection of racial trauma that refuses containment. These are not passive memorials but charged environments where the past bleeds into the present, where caricature and stereotype are weaponized to expose the grotesque legacy of American whiteness. She doesn’t seek to revise history but to rupture its mythologies, dragging the buried narratives of Blackness into view with theatrical force. Within these haunted tableaux, the gallery becomes a plantation, a battlefield, a lynching site, a kitchen—spaces where the spectacle of Black suffering and survival plays out in unbearable intimacy. By occupying the institutions that once excluded bodies like hers, she forces them to hold what they’d rather forget. Her art is not an appeal to empathy but a demand for reckoning; not a healing gesture but an exposure of the wound. In a cultural landscape eager to move on, to sanitize, to commemorate without accountability, she insists on holding the gaze—unflinching, unrelenting, and unrepentantly Black.