As a transnational artist who has lived and worked in Ghana, Nigeria, Britain, Switzerland, and the United States, Senam Okudzeto creates works that evoke peoples’ shifting relationship to locations across the map. “All of my work is commentary on time and space,” says Okudzeto, and on “my love of displacement and multiple identities.” The expansive layout of this work recalls social, cultural, and personal histories forged across continents as the diverse characters—global Africans—secure their connection through an immense span of time and space. Stretched out across this wall, tumbling every which way, these figures appear to reach out to one another in an attempt to hold on. Distance causes the lines to appear tenuous, but they remain strong. Frustrated with a popular tendency to marginalize African lives, or affix them to a structured grid such as that at far left, Okudzeto creates figures who defy systems that order, control, and quantify black lives. These figures draw attention to people who circulated within what Paul Gilroy famously called The Black Atlantic (1993). Their expressive response to the paper that contains them, itself given the appearance of an aged and torn slaving ship’s ledger, insists on a proper accounting as fully human rather than as units of labor sold into slavery.