After Hernán Díaz Alonso's introduction, Mabel O. Wilson discuss a student project as a study “to see my own history in the built world” – a project that informs her subsequent work. She proposes to discuss her work under the categories Homeplaces, Re-memory, and Mobility.
Under the category “Homeplaces”, Wilson discusses “(a)way station”, a 1999 installation at Storefront for Art and Architecture which traveled to - and responded to -the other sites it was presented. The Los Angeles presentation at Form Zero featured audio of her uncle, L.A. assemblage artist John Outterbridge, describing his journey to L.A. from North Carolina.
Under “Re-memory”, Wilson describes the context, history, design and uses of the University of Virginia’s “Memorial to enslaved laborers”, with Meejin Yoon, Gregg Bleam, Frank Dukes, and Eto Otitigbe (2020)
Under “Mobility”, Wilson describes “Listening there : scenes from Ghana”, an exploration of African modernisms, and, at 1:02:03 presents the video “Mobility & displacement / Movement and resistance”, which was part of “African mobilities : this is not a refugee camp exhibition” (2018). She describes “Marching on : the politics of performance” (2017), a performance and exhibit with Bryony Roberts and the Marching Cobras of New York” drum and dance team. Wilson concludes with some images from the just-opened exhibit she co-curated at MOMA, “Reconstructions : architecture and Blackness in America” (2021).