Through her story quilts, Faith Ringgold honours the identity of black women and memorializes their contribution to art history as muses and collaborators, which is something that is often not remembered.

[Anne Whitney] depicts contemporary issues that attempt to provide a visual vocabulary for newly emancipated black Americans. In Ethiopia and L’Ouverture, the artist is challenged and restricted by artistic and societal norms. Her frustration with the limits of Victorian society ultimately leads to the destruction of both works that scholars today recover through photographs.

Hannah Maynard’s photographs of Indigenous people in the mid-to-late-19th century reinforce the Noble Savage paradigm, reflect power inequity between photographer and subject, and showcase a lack of understanding of Indigenous culture reflective of the surrounding historical context.