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Hall reflects on artist Chris Ofili’s work and how Ofili’s excessive visual imagination is saturated with the imagery of the diasporic black imaginary.

Hall challenges simplistic conceptions of Africa as a uniform, undifferentiated, and static geographical and historical space. He assesses individual artworks in relation to how each “speaks out of a specific historical conjuncture, is engaged in a labour of remapping . . . [and is taking] a new sighting on Africa’s present ‘state(s) of emergency.’”

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