Toronto artist Sandra Brewster, who claims the right to opacity – a concept dear to Édouard Glissant – rethinks Blackness, situating it somewhere “between visibility and invisibility.” This is the conclusion drawn by Érika Nimis in her review of this finely tuned show focused on the deconstruction and representation of racialized people. Brewster transfers images onto a variety of supports (paper, wood, video) as “a metaphor for movement – that, among others, of her family’s migration,” Nimis writes. Long exposure times, models in motion, and random effects are among the means Brewster uses to defy the weighty heritage of photographic practices and crack open the notion of a monolithic Black community. Finally, in Nimis’s view, the most effective response to the stigmatization of appearance may be found in movement.