Time was a consistent element in Bisi Silva's work, reverberating across the length and breadth of her curatorial practice: time in the past, sifting through archives to uncover overlooked legacies; time in the present, working with contemporary artists to document for the future—she sought an urgency in her approach to “historicize contemporary African art” (Greenberger 2019) and in the articulation of her vision, perhaps she understood that time was a transient commodity.

I first met Bisi in 2009 during the artist Kainebi Osahenye's exhibition Trashin' at the CCA Lagos. I followed her practice keenly until we reconnected in 2015, at the 56th Venice Biennale: All the World's Future, directed by the late Okwui Enwezor, where Invisible Borders, under the artistic direction of Emeka Okereke, presented The Trans-African World Space. She was a friend and supporter.

The news of her passing filtered in on February 12, 2019, as...

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