How do black collectivity and queer intimacy refuse the category of property? What is made possible when we imagine the tradition of black radicalism as continuous, collective work rather than an inheritance in which individuals accumulate knowledge, or become subjects of history? In this tradition, could we exist together across time, outside the patrimony of ownership or the lure of emancipation as “something akin to freedom” as described by Harriet Jacobs?

Presented by the Brown Arts Initiative and BVI, with additional support from the Rhode Island School of Design and the Center for the Study of Race, Indigeneity, and Transnational Migration at Yale University.