Collection of the Smithsonian National Museum of African American History and Culture, Gift of Nona Hendryx of Labelle

Space is a dominant metaphor of Afrofuturism, serving as a canvas to illustrate and project ideas about the future. It's also the literal place where the exploratory dreams of Afrofuturists have become reality. 

HIGHLIGHTS: 

African Legacies  
Stool by Dogon artist 

Sonic Architects
Sun Ra’s space harp & Nona Hendryx’s silver costume 

Infinite Possibilities Portal  
“Whitey on the Moon” (Media) 

Space is the Place  
Red Starfleet uniform worn by Nichelle Nichols as Lt. Nyota Uhura   

NASA and the Black Space Program  
Flight suit worn by Charles F. Bolden during his first space flight 

Collection of the Smithsonian National Museum of African American History and Culture and National Portrait Gallery, Gift from Kadir Nelson and the JKBN Group, LLC, © 2017, Kadir Nelson

With the rise of new technologies, the concepts of Afrofuturism developed through literature, art, and activism to critique racism and provide an identity 

for Black creatives and intellectuals envisioning new futures for African Americans outside the realities of racism and segregated life. 

HIGHLIGHTS: 

The Dangers of Racialized Medicine  
Henrietta Lacks & Dr. Ernest Just 

Race as Technology  
Prototype of a digital heart rhythm monitor by Dr. L. Julian Haywood 

Afrofuturism on Television  
Misty Night costume 

ReAnimation and ReInvention  
Luke Cage Seagate Prison costume 

Technofutures 
Technofutures (Media) 

Collection of the Smithsonian National Museum of African American History and Culture, Donated by Vernon Reid

Black futurist musicians have created, adapted, and utilized new musical technologies to create new sounds and liberate music from its traditional rules and racialized roles. 

HIGHLIGHTS: 

Music and Afrofuturism  
Music and Afrofuturism (Media) 

Sonic Architects  
(Parliament Funkadelic) Bernie Worrell’s stage costume and ARP keyboard; (Janelle Monáe) Archandroid costume; (World Building) Vernon Reid’s guitar and pedals and Meshell Ndegeocello’s bass guitar; (Jazz Futurist) Pete Cosey’s guitar; & (Musical Futures) Thundercat’s bass  

Space is the Place  
(NASA) Sun Ra (Lithograph) 

Reimagining Black futures in the form of literacy and invention to create spaces and pathways for freedom and deliverance. 

HIGHLIGHTS:  

Colonial Afrofuturist 
Phillis Wheatley 

Afrofuturism and Black Literature  
(New Worlds of the Black Diaspora) Chaka: An Historical Romance, by Thomas Mofolo 

Black Science Fiction  
Samuel Delany’s manuscript, Octavia Butler’s manuscript, and Octavia Butler’s typewriter  

Black Arts and the Avant-Garde 
George Duke’s Keytar 

Visualizing Afrofuturism 
Performing Arts Screen  

Black Superheroes  
Milestone 
Media trading cards and “Eruption” 

Black Bodies, Black Lives 
The Mirror Casket 

Gavin Hellier/Alamy Stock Photo

Trek through the exhibit and explore the creation of Black worlds and their lasting influence and cultural impact! 

HIGHLIGHTS: 

African Legacies
(Myth, Symbols, and Storytelling) An Offering, by Stephen Towns 

Colonial Afrofuturists
(Imagining Freedom) Golden Legacy 

New Worlds of the Black Diaspora 
Martin Delany, Blake: Or, the Huts of America 

Sonic Architects  
(Escapism and Reality/Outkast) André 3000’s notebook, and Plutonia poster 

Building Black Worlds  
(Stage and Screen) The wizard’s jumpsuit in The Wiz on Broadway, and gown for Glinda the Good Witch in The Wiz on Broadway; 

(Afrofuturism on Television) HBO’s Watchmen costume— Hooded Justice; (Origin Stories/ Wakanda/Black Panther); (Wakanda and Modern African Architecture)—Reveillon Federal, bu Bodys Isek Kingelez 

Collection of the Smithsonian National Museum of African American History and Culture, Gift of M. Denise Dennis, in honor of the Dennis Family

From the era of slavery to today, African Americans have reimagined the futures and possibilities of Black people across the globe through the dynamic lens of Afrofuturism. 

HIGHLIGHTS: 

The History of Black Futures  
The History of Black Futures (Media); (Sky watchers)—Yoruba bowl by Olowe of Ise  

Colonial Futurist  
(The Black Imagination)   

The New Negro  
Du Bois charts  

Sonic Architects  
(Sun Ra)—Manuscripts, and Arkestra EVI 

Afrofuturism and Black Literature 
(New Worlds of the Black Diaspora) Letter to Charles Chesnutt from W. E. B. Du Bois   

Music and Afrofuturism  
(Black Art Studio) Lee “Scratch” Perry’s tape player; Music and Afrofuturism: Musical  Futures—Erykah Badu’s headdress  

Afrofuturism on Stage & Screen 
Chair used in the music video "Scream" by Michael Jackson and Janet Jackson 

ReAnimation and ReInvention = 
(Black Superheroes) Hoodie from Luke Cage 

Race and Activism in the 21st Century  
Gas mask with filter canister worn at demonstrations in Ferguson, Missouri; Banner from a protest rally after the police shooting of Michael Brown; Trayvon Martin poster 

Technofutures  
Technofutures (Media) 

Labels are the formal museum terms for the large and small texts throughout the exhibition that can describe a section, physical object, document or media. 

The larger the label, the broader the information, such as one that introduces a new section. The smaller the label, the more specific, such as one that tells you the background of an object. We suggest reading the larger labels to help you decide what you want to read next! 

Media can be a primary source, too. Our curators need to share a lot of information with secondary sources quickly and efficiently. Media helps with this. A label near the screen usually tells you a short description and video length. Watch out for warning labels. Some media may include subject matter that may not be suitable for some visitors. 

Objects are catch-all museum terms for the items you see in the exhibition cases. Objects help tell the story of the exhibition. Most are primary sources from the museum’s permanent collection, while others are loans from other museums, institutions, or individuals. Suppose the object on display is anything other than a primary source, such as a reproduction or an image. If so, that information will be noted on the label.

You may have noticed the low lighting, or that the gallery is chilly. This is because many historical objects are sensitive to light, heat, and humidity, and why museums often ask you to refrain from using a flash while taking pictures. It’s important not to touch museum objects because oils and dirt from your hands can harm them. Museums are responsible for ensuring the health and safety of the objects and preserving them for the future. 

Yes. Museums have floor staff who can answer your general questions or discuss an exhibition. Be aware that some staffers have specific expertise and may not give you the answer for which you’re seeking. But be assured that they will refer you to someone who does. The Welcome Desk in Heritage Hall is an excellent place for answers. 

No! Exhibitions contain a lot of information, and museums expect you to read only some of it. Read to get a general idea of what an exhibition or section is about, and then choose to read as much or as little as you want. Read what interests you!

It’s OK if you become physically, mentally, or spiritually tired during your visit. Museum fatigue is real. If you need to take a break, visit our Sweet Home Cafe or the Contemplative Court and continue your visit later. Or you may decide you’re done for the day. That’s fine. We’ll look forward to your return.