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Justify My Love: Art Beyond Theory, Frameworks, and Footnotes

A reflection on reclaiming creative freedom from art theory, critique culture, and institutional expectations. Let the work speak and speak through the work.

Lines of Care: Art, Reflection & Caregiving

Drawing by Nsenga Knight in collaboration with her daughter created during an intense week of caregiving and reflection.

Nsenga Knight reflects on how drawing during caregiving reconnects her to joy, process, and the deeper role of artists in times of disruption.

Not for Nothing | On Art, Empire & Sacred Resistance

Large wall drawing made of latex paint and spray paint installed at Galveston Artist Residency. This wall drawing utilizes motifs found in Islamic sacred geometry and referenced the Prophet Muhammad with its use of the pentagon and the hajj is referenced by the Black square and the circular form Nsenga Knight wall drawings are also inspired by the large wall of drawings of Sol Lewitt and conceptual arts practices

Artist Nsenga Knight explores colonial language, sacred geometry, and the artist’s duty to truth in Not for Nothing.

Everybody.

A stark reflection on Gaza, silence, and responsibility — artist Nsenga Knight urges us to remember, to speak, and to act when injustice unfolds.

A Wall Is Just a Wall: Assata Shakur, Gaza, and the Art of Refusal

Assata Shakur’s words remind us that every wall — from colonial borders to false divides between spirit and society — is imagined and can be dismantled.

Hasbunallahu: On Truth-Telling, Art, and Resistance in a World on Fire

Installation view of Nsenga Knight’s The Clinic (2024), suspended transparent black and gold panels with white text, transforming the Queens Museum into a site of sacred resistance.

Artist Nsenga Knight reflects on art as truth-telling and resistance — from Gaza to her own works like Metem and Tawaf/Sa’y — highlighting how artists worldwide bear witness, remember, and challenge injustice.

The Power of Returning Home: Art, Memory, and Belonging

Three brown-skin hijabi women at a dining room table eating Caribbean food. The dining room table is in front of a wall that is decorated with wallpaper that it topaz and has blue and pink lotus flowers and several photos and artworks featuring Black Muslims from the United States, Sudan and Egypt, including Malcolm X and Lynn Hope in turbans.

Two years ago, I returned from my first trip to Guyana — my mother’s homeland. Nearly a year later, I began creating Metem, a film that I knew would be about more than documenting my family’s journey back. In fact, you never actually see Guyana as a place in the film. Instead, Metem unfolds through memory, food, andContinue reading “The Power of Returning Home: Art, Memory, and Belonging”

Black to Palestine: The Making of The Clinic

Nsenga Knight, The Clinic white text drawn on dark transparent of acetate film art work being created in the artist's studio

Discover Nsenga Knight’s The Clinic, an installation transforming symbols of violence into suspended prayers and sanctuaries of resistance. From studio sketches to the Queens Museum, the work reclaims fragility, resilience, and collective healing in the face of conflict.

A Letter to My Fellow Artists: Doing It for the Love

Reflecting on why we create art and the importance of doing it for the love, this letter to fellow artists explores reconnecting with community and finding intrinsic joy in creativity.

August 2025 Wrap-Up: Art, Activism, and Planting Seeds of Change

In this August wrap-up, artist Nsenga Knight reflects on a month of powerful dialogue connecting art, activism,