Saidiya Hartman, a Columbia professor known for her "critical fabulation" method of writing history, has created her first artwork: a performance titled "Minor Music at the End of the World." Debuted in October, the three-part work imagines the end of white supremacy and features cinematic elements by Arthur Jafa, sculptures by Precious Okoyomon, sounds by Peter Born, and performances by André Holland and Okwui Okpokwasili. Cameron Rowland serves as "Attendant of the Archive." The piece recently had a run in Venice, echoing the Biennale's main show "In Minor Keys." Hartman's essay "The End of White Supremacy," which responds to W. E. B. Du Bois's "The Comet," inspired the performance.
This matters because Hartman's scholarly influence on contemporary art has been profound—her work has inspired exhibitions at the Art Institute of Chicago and MoMA, and her methods are widely adopted by artists. Now, by stepping into the role of artist herself, she bridges theory and practice in a direct, collaborative way. The performance addresses urgent themes of racial justice and the end of white supremacy, resonating with current global movements and the Venice Biennale's thematic focus. It also highlights how academic ideas can be transformed into powerful, multi-sensory art experiences.