• Untitled (Face #182 Senam), 2007
  • Untitled (Back #182 Senam), 2007
  • Untitled (Face #112 Kevin), 2004
  • Untitled (Back #112 Kevin), 2004
  • Untitled (Face #170 Kehinde), 2006
  • Untitled (Back #170 Kehinde), 2006
  • Untitled (Face #176 Shirin), 2006
  • Untitled (Back #176 Shirin), 2006
  • Untitled (Face #173 Tony), 2006
  • Untitled (Back #173 Tony), 2006
  • Untitled (Face #160 Kara), 2006
  • Untitled (Back #160 Kara), 2006
  • Untitled (Face #142 Robert), 2005
  • Untitled (Back #142 Robert), 2005
  • Untitled (Face #193 Fred), 2007
  • Untitled (Back #193 Fred), 2007
  • Untitled (Face #92 Cindy), 1998
  • Untitled (Back #92 Cindy), 1998
  • Untitled (Face #171 Thelma), 2006
  • Untitled (Back #171 Thelma), 2006
  • Untitled (Face #2 Chuck), 1998
  • Untitled (Back #2 Chuck), 1998
  • Untitled (Back #17 Mystery), 1998
  • Untitled (Face #17 Mystery), 1998
  • Untitled (Face #159 Anna), 2006
  • Untitled (Back #159 Anna), 2006
  • Untitled (Face #57 Catherine),1998
  • Untitled (Back #57 Catherine),1998
  • Untitled (Face #145 Al), 2004
  • Untitled (Back #145 Al), 2004
  • Untitled (Face #184 Marilyn), 2007
  • Untitled (Back #184 Marilyn), 2007
  • Untitled (Face #14 Renee), 1998
  • Untitled (Back #14 Renee), 1998
  • Untitled (Face #134 Jim), 2004
  • Untitled (Back #134 Jim), 2004
  • Untitled (Face #155 Lyle), 2000
  • Untitled (Back #155 Lyle), 2000

Photographed over a ten-year period using a large-format Polaroid camera, “The Chocolate Portraits” consist of 200 subjects, each portrayed as dual images (the face and back of the head). These unique 20 x 24-inch monochromatic dye-diffusion transfer prints represent individuals across the social spectrum. Work from this series was first exhibited in 1998 at the Aldrich Museum of Contemporary Art (Ridgefield, Connecticut) and in 2011 at the Studio Museum in Harlem (New York). In 2009 a monograph of the complete series, titled “Excessive Exposure,” was published by Gregory R. Miller, featuring an introduction by Henry Louis Gates, Jr., a critical essay by curator Okwui Enwezor, and a conversation between Harris and the artist Chuck Close.