The topological spaces of the African city's landscape invite the decoding of its hidden historical narratives which are reproduced through this project by interpreting the spatial values of cities such a Sekondi. How are residual memories formed and found in material culture, especially in relation to the contemporary African city and social uses of space? How is architecture able to inform and expand cultural understandings of the overlapping histories of the Atlantic Slave Trade, colonialism, and Pan-Africanism in Ghana? This site-specific art installation explores and records Ghana's unofficial urban histories and argues for the formal establishment of its unrecognized historic civic centers.

Senam Awo Okudzeto’s art and research examines overlooked narratives of modernity and material culture. Exhibitions include: We wanted the Object to be the Subject (Before We Wanted the Reverse), Centre Culturel Suisse, Paris (2019), Dada Afrika, Museum Rietberg (2016); the 14th Istanbul Biennale (2015), The Progress of Love, the Menil Collection, Houston, (2012); Portes-Oranges, solo project at PS1 MoMA (2007); Africa Remix, Center Pompidou (2005); Freestyle, Studio Museum in Harlem (2001). Published texts include; "Emotive Histories; The Politics of Remembering Slavery in Contemporary Ghana", The Journal of Atlantic Studies, (Routledge, 2012); and "Feminist Time: A Conversation, Aruna D'Souza, Miwon Kwon, Ulrike Müller, Mignon Nixon, Senam Okudzeto," Grey Room (MIT Press, 2008). Okudzeto was a Radcliffe Institute for Advanced Study Fellow, at Harvard University (2003–04); and Edith Bloom/Jesse Howard Jr. Rome Prize Fellow at the American Academy in Rome (2015–16). She is the founder of Art in Social Structures.