These two works have been made as part of a larger body of work concerned with cartography, race, class, gender, colonialism, and geographic regimes of power. These works appropriate and alter historical maps through collage, gold leaf, archival imagery, comic-book iconography, ICE recruitment graphics, colonial references, and contemporary images of policing and immigration enforcement. They are visual essays that interrogate the ways in which maps organize racial and gendered knowledge and explore the ways in which art can interrupt the authority of cartography. For the artist, these works operate as a form of social inquiry articulated in visual form and disseminate social critique through a participatory affective register. Through layering, juxtaposition, and manipulation, they collapse the division between theory and praxis and model the artist’s argument that making is a way of thinking and that art is capable of more than making decorative objects for display. As objects of inquiry, they do not simply represent or illustrate theory but instead produce counter-knowledge and non-linear arguments through juxtaposition, layering, and iconographic association.