The act of remembering often feels infinite—extending one’s consciousness inward to grasp what was, or perhaps what could have been. This exhibition, titled after Toni Morrison’s essay, “The Site of Memory,” explores the sensory components in such wanted desires and follows her notion that “the act of imagination is bound up with memory.” The show proves how image-making translates to mediums like abstract paintings and sculptural arrangements while surveying diasporic pull, familial legacy, architectural scapes, and queered futures. The works on display, completed by the likes of Gideon Appah, Natalie Ball, and Pamela Council, offer an entry point into other worlds of image making, suggesting that what mattered in the past is worth remembering now. The results are, according to gallery director Arthur Lewis, “compelling stories from the African diaspora that never leave you”—much like a vivid memory.

The act of remembering often feels infinite—extending one’s consciousness inward to grasp what was, or perhaps what could have been. This exhibition, titled after Toni Morrison’s essay, “The Site of Memory,” explores the sensory components in such wanted desires and follows her notion that “the act of imagination is bound up with memory.” The show proves how image-making translates to mediums like abstract paintings and sculptural arrangements while surveying diasporic pull, familial legacy, architectural scapes, and queered futures. The works on display, completed by the likes of Gideon Appah, Natalie Ball, and Pamela Council, offer an entry point into other worlds of image making, suggesting that what mattered in the past is worth remembering now. The results are, according to gallery director Arthur Lewis, “compelling stories from the African diaspora that never leave you”—much like a vivid memory.