Kara Walker is one of the most complex artist of this generation. She can make work that so effectively get the complexity of Human nature and critically address race, gender, sexuality and power. She investigates the darker aspects of American culture and human psyche.

Her last exhibition is currently held at The MOMA, and it consist on annotation of the original edition of Harper’s Pictorial History of the Civil War, published in 1866 by Alfred H.Guernsey. The goal of that edition was to narrate events just as they occured  and Kara Walker challenges the truth Guensey claimed to recount and unjects a discourse about rightness and wrongness the author professed to omit. Walker’s silhouetttes of distorted fragments and flailing balck bodies are silkscreened over enlargement and she incoporates new understading of suffering, loss and horror from the nineteenth century illustrations.

”These prints,” Walker explains, ” are the landscapes that I imagine exist in the back of my somewhat more austere wall pieces”

Her use of silhouettes may depit figures as racially stereotyped, and illustrate the emergence of racial anthropology in the late eighteenth century, particulary the concept of physiognomy.