Hortense Spillers’s exploration of “the interstice” as a gap or absence within iconographic and discursive practices illuminates an aesthetics of the interstice that binds together the performance artist Lorraine O’Grady’s formal and conceptual orientation towards otherwise divergent practices of institutional critique, photographic installation, and public performance. Within the context of O’Grady’s artwork, the interstice is reconfigured as a generative site of possibility where a radical aesthetics of black social reproduction is constantly taking shape.

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