This series draws upon a vast archive of images that trace a history of uprisings, protests, riots, massacres, and revolutions that are connected to race while also juxtaposing those images to images that trace Late Capitalism in America. These images sit on fields of color and are framed by an orthographic geometry. A tension gradually forms between the flat surface of the painting and the depth of the image, the diverse colors within the images and the whiteness of the ground, and the desire to make visible and hide the events that have taken place. Ultimately, a rigid geometry is imposed that attempts to regulate, frame, and flatten the chaotic depictions that fade into the distance of the space of the surface and the time of the events that they trace.