The late nineteenth-century United States saw a series of transformational political and social milestones: the passing of the Emancipation Proclamation, the collapse of the Confederacy and end of the Civil War, and the rise of feminist and abolitionist movements. The impacts of these shifts on Black lives, however, were negligible and uneven. Black women in particular were subject to perpetual violence post-emancipation and were forcefully excluded from social movements that claimed to fight for equality. In Kara Walker’s Scene 18 from The Emancipation Approximation, the contrasting colors of the silhouette and placement of the two figures remind me of white women’s ascendance within mainstream feminist movements that deny the value of BIPOC voices. During this current cultural moment of widespread awareness of systemic anti-Black racism, intersectionality in feminist activism is consequential; white women, myself included, must center the voices of Black women, nonbinary folks, and queer activists before our own. Personally, I can harness my platform as a white student at a predominantly white institution and as an intern at the Tang Museum to share the work of BIPOC artists and activists; simultaneously, I must call attention to the ways in which such spaces (higher education and art institutions) perpetuate racism.