These large scale photomontages comprised of dense image clusters—juxtaposing popular culture, art historical references, political and entertainment figures, unique Polaroid prints, newspaper clippings, and re-photographed images of the artist’s works among other personal ephemera—evoke complex, layered associations excavated from collective memory. These new pieces emerged from a set of collage studies originally developed by Harris to explore the African Baroque, published in the catalogue of “Nero su Bianco,” a 2015 exhibition exploring contemporary and historical cross-currents of Italian and African influence, co-curated by Harris, fellow artist and critic Robert Storr, and Peter Benson Miller at the American Academy in Rome.