• Venus Hottentot 2000 [in collaboration with Renee Cox], 1994

    Venus Hottentot 2000 [in collaboration with Renee Cox], 1994

  • For Cleopatra [in collaboration with Margaret Nelson], 1994

    For Cleopatra [in collaboration with Margaret Nelson], 1994

  • For Norman Mailer, 1994

    For Norman Mailer, 1994

  • Saint Michael Stewart, 1994

    Saint Michael Stewart, 1994

  • “The Good Life” Exhibition (Installation view, Jack Tilton Gallery, 1994)

    “The Good Life” Exhibition (Installation view, Jack Tilton Gallery, 1994)

  • Sisterhood [in collaboration with Iké Udé], 1994

    Sisterhood [in collaboration with Iké Udé], 1994

  • The Child, 1994

    The Child, 1994

  • Brotherhood, Crossroads and Etcetera #1 [in collaboration with Thomas Allen Harris], 1994

    Brotherhood, Crossroads and Etcetera #1 [in collaboration with Thomas Allen Harris], 1994

  • Brotherhood, Crossroads and Etcetera #2 [in collaboration with Thomas Allen Harris], 1994

    Brotherhood, Crossroads and Etcetera #2 [in collaboration with Thomas Allen Harris], 1994

  • Brotherhood, Crossroads and Etcetera #3 [in collaboration with Thomas Allen Harris], 1994

    Brotherhood, Crossroads and Etcetera #3 [in collaboration with Thomas Allen Harris], 1994

  • “The Good Life” Exhibition (Installation view, Jack Tilton Gallery, 1994)

    “The Good Life” Exhibition (Installation view, Jack Tilton Gallery, 1994)

  • Empress, Emperor and Staff, 1994

    Empress, Emperor and Staff, 1994

  • The Beautiful Ones, 1994

    The Beautiful Ones, 1994

  • The Queen and the Tswana Heritage, 1994

    The Queen and the Tswana Heritage, 1994

  • “The Good Life” Exhibition (Installation view, Jack Tilton Gallery, 1994)

    “The Good Life” Exhibition (Installation view, Jack Tilton Gallery, 1994)

  • Mother and Sons, 1994

    Mother and Sons, 1994

  • Vintage Lyle #2, 1994

    Vintage Lyle #2, 1994

  • Toussaint L\'Ouverture, 1994

    Toussaint L\'Ouverture, 1994

This series of 20 x 24-inch dye-diffusion Polaroids, interspersed with cibachrome prints reproducing a selection of images from his family’s photo archives, comprised Harris’s first solo exhibition in 1994 at Jack Tilton Gallery (New York). Writing in Black Art and Culture in the 20th Century (1997), Richard J. Powell described this work as a “complete subversion of various notions of identity—gender, sexual, and familial—which, ironically, caused another indicator of identity—blackness—to twist, snake, and splice itself into a complex yet irreducible ingredient.”