Abstract

In this paper, I argue that scholars who reproduce photographs of Black people for subversive purposes should pursue alternative modes of re-exhibition other than carelessly reproducing said photographs as is. Christina Sharpe’s care-based method of wake work, performed within In the Wake: On Blackness and Being (2016), is one such form of ethical exhibitorship. Care, in this text, is the pursuit of the full context of the afterlives of slavery against oppressive narratives about Black people and their lived experience to reach a clearer level of understanding and engagement with people experiencing anti-Blackness. In section one, I will analyze Mariana Ortega and Saidiya Hartman’s engagements with photographic representation. In section two, I will explicate Sharpe’s account of the wake and wake work, emphasizing the role of care. In section three, I will explore the limitations of wake work, mainly the tension between wake-filled reproductions and careful discretion.