Kara Walker is most recognized for her striking silhouettes that first appear as two-dimensional cutouts but begin to reveal an animate presence as shadows on the wall. Often staging pastoral scenes reminiscent of the Old South, Walker’s work comments on the sexual, physical, and racial exploitation of Black men and women as a result of falsified narratives and stereotypes. Image credit: Kara Walker, “Untitled (Kneeling Woman with Mask),” 1998, cut paper and adhesive