Intensity cannot be destroyed. What exceeds the shape things take cannot properly be located. blackness cannot be captured because blackness is not. It moves. Parastratum, it multiplies all ecologies it comes into contact with.

Today, how should we consider that this colonial appeal to reason has left a parting gift, namely the frantic double exposure of the racial image? On the one hand, the current human-to-human relation is still largely saturated by images of a world constructed through epistemic whiteness. On the other hand, the technological object, in its ignorance, has been largely programmed to overwrite the complex dynamics of historical race relations, and has instead been designed to infer logical conclusions from a racist human history, as if this data is anything other than an ensemble of racial processes dragged through time on the instruction of the white imaginary. If a harmony is to be achieved, then the structures of these processes, as well as the resultant double images, must be brought into an authentic awareness.

The “resistant objecthood” that grounds the performances in Lawson’s and Pfeiffer’s images unearths a deeper white anxiety at blackness’ lack of restraint, and its intemperate hostility to discipline. Lawson’s and Pfeiffer’s aesthetics interrogate the normative value of visibility and proffer a politics of visuality in which blackness at once appears and retreats. In their work, raced subjects cultivate a visuality of fugitive evasion, or, to borrow from Anne Anlin Cheng, they manifest “a disappearance into appearance.” Their images model spectacular opacity as a black visual practice that recedes into view.