Since its inception, the skyscraper has served as an icon of American innovation, modernity, and freedom. Upholding this image has erased the racial thinking and racist practices foundational to this born-and-bred American architectural form. This essay restores the import of race to the skyscraper by reading formalist theories by the father of modern architecture, Louis Sullivan, alongside a work of African American modernist fiction, Nella Larsen’s Passing (1929). Reading Sullivan alongside Larsen explains how skyscrapers and blackness together have defined what gets seen as modern. The unexpected pairing reveals the visual racial logics built into skyscraper aesthetics and adds an architectural thread to the well-established scholarship on Larsen’s novel.

Review of Mihaela Mihai (2022) Political Memory and the Aesthetics of Care: The Art of Complicity and Resistance.

Runaway slave newspaper advertisements constitute some of the earliest visual formulations of supposedly legible racial meaning in the Americas. Numbering in the thousands, these missing persons reports contain rare pre-photographic portrayals of self-emancipated individuals “seen” by a public. By reading the advertisements with and against the grain, this essay explores the logic of seeing in these early forms of racial profiling and speculates about how descriptive language makes race feel as if it is and ought to be visible and transparent to the beholder. Racial visibility was and is produced by the layers of abstraction undertaken to represent what could already be recognized as “racial” in public culture and affirms a perceptual experience I call racial sense. A theory of racial sense is developed in this essay by reading Immanuel Kant’s aesthetic philosophy alongside Sylvia Wynter’s critique of the human. This theory of racial sense challenges the distinction between aesthetics and science as staged by the modern project of the human.