There's a theme that runs throughout the course of this exhibition and it's this idea of an invitation. Invitation is really something that my project has been invested in, as, as a theme and as a concept. And as a principle. I talked about when I was a younger artist, or maybe even previous to knowing what it was, I wanted to be, but had an interest in art, and I would visit the Museum of Contemporary Art in Chicago. And at that museum, there were works by Salah, which is the reference here, which also is obviously, in many ways referenced by the grid of the armature and the structure in room one, but also the work of an artist, Carl Andre. He makes an invitation with some of the works that he included in that collection, and many others shove the steel plank worse than what you were invited to walk on the surface, if you are familiar with the opportunity that you can. And so as a young man, my friends, and I would go to the museum, and we started using the Carl Andre planks as breakdancing mats. And I'm not sure that there's a world to which Carl Andre could have predicted that younger when you come into his work and use that invitation to amplify our voices and bodies and quite different ways, that started me thinking about the the inherent kind of invitation as I saw it by a lot of the work of the artists that we consider to be minimalist. What you see in the work like this is kind of the occupation, these grid forms and I thought to myself, what would I put inside it if I wanted to occupy it? The idea of filling in the spaces that were left vacant is an opportunity for dialogue, and not necessarily an act of disposition, but an active position and discourse and dialogue with art history. And so my choices for inclusion are the materials and signifiers that are precious and important to my thinking: one being shea butter, which are the West African products, which you see, moving throughout the structure. Shea butter is quite interesting, it's a material that people often use for healing. It's a moisturiser that people would use for healing. It's something that people would use for cooking. It's got all of this incredible utility, and all this incredible history. My mother's father, kind of invested in Afrocentrism, my mother is an African history professor. So I've had this fascinating coming engagement with Africa from a distance for so long, and to kind of take on the signifier of this material, and then use this as an opportunity to kind of fill this space or these series of voids. Also you can see the books, things that have come to form my thinking, in particular The Sovereignty of Quiet, which is a book by Kevin Quashie. Also writers like Amiri Baraka, James Baldwin, Claudia Rankin, Red Mountain, I mean, there's all of these kinds of sources for how it is. I kind of come to the way that I think and you see those books lined up oftentimes in multiplicity, because I like to think of them as mark making tools, as much as I'd like to think about them as delivery systems for information.