Williams’ work has continually addressed ideas of history, time and agency through works that question structures of power and representation in the United States. With his most recent work exploring the resizing and deconstructing of historic American monuments, the artist’s practice proves particularly powerful and poignant in the context of the Black Lives Matter movement, as well as recording and recounting major moments of social and political change. In Genesis Amnesia: Part 1, each of Williams’ four bodies of work on view—wax monuments, backpacks or Unattended Baggage (Time Capsule) series, sewn paintings, and concrete-filled tanks—communicate a provocative theme. These works, in some capacity, require the viewer to visually and physically engage with them; by implicating the viewer, Williams concretely identifies the way we observe and take part in history.