LAXART

While its core subject is race, this exhibition is also a portrait of Williams as a reader. Toward that end, the gallery’s walls function much like pages containing text from two sources: passages from legal theorist Cheryl Harris’ seminal 1993 essay, “Whiteness as Property” placed alongside a towering list of URLs that, all totaled, represent a running discourse on race, gender, and power. Switching between legal history/theory and an index of clickbait headlines, the texts inform one another in ways that are at once humorous, harmonious, and antagonistic.