"What will be interesting is--" He pauses a beat before continuing. "I've thought about what you do with the currency, because there is a certain amount of currency and quote/unquote power that comes with showing at LACMA, showing at the Whitney. It stacks up a certain credibility to some people. At the same time, it also--I feel, in my case--could possibly shift the dynamic of power. For instance, my new studio will be in Leimert Park. And I specifically knew that I wanted my studio in no other place but Leimert Park. It's sort of the cultural bastion of a kind of Afrocentricism. It's the only area that people point to and say, 'That's where the black art is. Local black art goes there.' And I need to insert myself in that conversation. I need to insert my studio in that conversation. I need to insert all these sort of postmodern hybrid theories in that conversation, almost like a rocket just hitting into it. And I think that vibration--my association with the area, their association with my open studio--" He pauses again.
"I haven't yet figured it all out, but I know that's sort of the first step in inserting myself into a kind of local flow. And not because I feel like it's a responsibility, but because it's just something that I've always wanted to do. I've always been very interested in bridging."