María Magdalena Campos-Pons’s multi-disciplinary practice focuses on issues of history, memory, gender, and religion. Her work is frequently autobiographical, informed by stories of the trans-Atlantic slave trade and honouring the work carried out by Black slaves on sugar and indigo plantations. Meanwhile the Girls Were Playing 1999–2000 forms a microcosmic landscape with three bundles of fabric surrounded by hundreds of jewel-like blue, green, and yellow glass paste flowers spread out in concentric circles across the gallery floor. A video is projected on the wall and at the centre of each of these three circles. The videos feature cycles of repeated activities, including birds circling a feeder, children playing jacks, a woman holding flowers, and a spinning top. Implicit in these vivid images is the landscape of childhood, a protected world insulated from the political, social, and cultural realities of adulthood.