For over four decades, conceptual artist and cultural critic Lorraine O’Grady has been making sharp intellectual interventions through her artistic practice—realized in a various media such as text, photo-installation, video and performance—and through her theoretical texts. One example is her now canonical 1992/94 essay “Olympia’s Maid: Reclaiming Black Female Subjectivity,” an important contribution to the fields of art history and intersectional feminism. O’Grady’s investigation addresses, for the most part, issues of diaspora, hybridity and black female subjectivity as well as their formative role in the history of modernism. In the concept-video Landscape (Western Hemisphere) (2010-2012), O’Grady turns her hair into a landscape. Captured from different close-up angles, the strands move in different directions and intensity by the wind, accompanied by the soundscape of crickets, birds, cicatas and the wind itself. O’Grady practice, and this work in particular, offer several points of meditative-connection with a younger generation of artists of the African diaspora in Brazil, Latin America and the Caribbean.