Thanks in abundance to all the hands and hearts and that helped! Love y'all so much. 🌱🐍🌱🐍🌱 @dahveeduh @amberesseiva @klavecito @roderickrgeorge @icavcu A Field is a new, site-responsive commission by Kandis Williams (b. 1985, Baltimore, MD). Williams addresses the regimes of control associated with labor, including at prison farms in Virginia. A Field takes place within a greenhouse, surrounding the viewer with plant sculptures. These works feature photographic collages affixed to the wire forms of monsteras, palms, banana trees, and vines, appearing variously in pots on the floor or on greenhouse benches, as well as along the gallery walls. For Williams, collage is able to choreograph and index both thought and movement. The medium allows Williams to merge contemporary and historical referents, exposing the entangled relationships between humans and non-humans subjected to destructive world-building. These collages, which appear on the plant leaves and as backdrops throughout the gallery, depict laboring bodies in action. They include archival photographs of chain gangs on Mississippi farms, many taken from the estate of Alan Lomax and the Library of Congress; images from vintage pornographic magazines—Jet, Players, Sepia, Mr. Long, and Black Legs; and depictions of dancers performing the Uruguayan tango, a choreography conscripted from workers’ traditions. In these overlapping images, sometimes assembled in figurative constructions, a schema is revealed in the relations between labor and performance, performance and sexualization, sexualization and labor. Plants constitute a life-force subjected to classification and forced migration, remarkable for their persistence and adaptability. The plant is sentient yet silent, subjected to changing environmental demands as it is displaced and commodified. Plants suggest both the ravages of colonialism and a future for life beyond humanity.