This concluding chapter discusses the significance of the concept of representation to nationalist discourse. Representation in the political world and the idea of cultural representation both appear to demand a stable point of reference. However, cultural producers disruptively inhabit frameworks of representation as an element of their aesthetic radical practices. The chapter then examines visual artist Howardena Pindell alongside lesbian filmmaker Cheryl Dune because they produce works in which Black bodies become visually inaccessible. The reluctance to represent is a vital component of these artists' respective projects. Ultimately, the chapter documents how cultural producers challenge the idea that social realities oblige African American artists to produce work engaged in progressive politics.
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