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In this 1992 work by Cox, a collage in the shape of a crucifix, is intricately constructed from several manipulated photographic negatives. The figure, in pose, posture, and lack of penis, provides a chilling allusion to the figure of a lynched man (after a lynching, the mob would often cut off the victim's penis).


Cox raises haunting questions about the link between the persecution and crucifixion of Christ and the lynching of African Americans. By presenting the figure as black, Cox also acknowledges the Afrocentric movement's desire to question and expand the Euro-centric view of world history

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