As plastic has become so central to communications and infrastructure, plastic operates as a logistical medium—that is, a medium that sets the “terms in which everyone must operate.” Plastic determines so many of our relations, including the goods we can access, the distribution of food, access to water, medical supplies, and an infinite variety of other things that arrange and regulate the movements of people and the qualities of our lives. It is a leverage point of power, distributing and amplifying other systems of inequality.

If modern Eurocentric history remains dominant in contemporary art discourse, what happens to the available theory and criticism of contemporary African art? At present, accounts of contemporary African art appear in a growing collection of critical, curatorial, and artist writing. How do these narratives, opinions, and polemics inform the critical review of African art practices? Further, in a pervasively Eurocentric setting, an atmosphere in which Western critics look at African art as illegitimate, how can a theory of South African art encourage an alternative reception of contemporary African art practices in general?