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Last spring I accompanied a friend to Oakland for the opening of Evan Bissell's project, "The Knotted Line." I had little information about the event other than the assurance that I "had to see this work." Arranged in a non-chronological timeline throughout the exhibition space were over 50 paintings created by Bissell. As I moved slowly along the walls, crouching and squinting to take in the miniature paintings, an overwhelmingly painful history of the United States was revealed. Among the many themes depicted was the history of colonization, Christian hegemony, slavery, the birth and growth of the prison system, criminalization and immigration. Beneath each painting were lists of historical facts, evidence of Bissell's research that described both acts of oppression, for example, the imprisonment of 19 Hopi men on Alcatraz in 1895 for refusing to send their children to boarding school and resistance, the occupation of Alcatraz by over fifty Native American tribes over seventy years later. By the time I reached the last painting, I felt buried beneath the weight of these images and their ability to communicate the complexity of histories so often kept hidden.

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