[1] Critics and art historians - and the artist - have suggested that the work represents a critique of property in the United States, showcasing the links between real estate, land use, and the history of slavery in America.

[1][4] Using funding for their exhibition D37 (2018) at the Museum of Contemporary Art, Los Angeles, Rowland purchased one acre of land on the former Maxcy Place slave plantation on Edisto Island, South Carolina.

[2] Covenant restrictions in the United States were historically used by white property owners and communities to enforce segregation by excluding black people from buying homes in their neighborhoods.

[2] In the text that accompanies the work, Rowland wrote that "As reparation, this covenant asks how land might exist outside of the legal-economic regime of property that was instituted by slavery and colonization.

Wu suggested that "For Rowland, rerouting the flow of capital is not as important as rethinking our property relations wholesale, even if it means rendering an entire plot of land unusable.

"[8] Writing in Third Text, the critic Guy Mannes-Abbott referenced a passage by Rowland that said, "the restriction imposed on 8060 Maxie Road’s status as valuable and transactable real estate asserts antagonism to the regime of property as a means of reparation;" Mannes-Abbott wrote that "The regime really refers to the practice of capital abstraction, especially in the form of mortgaging, which used slaves as collateral because they were deemed property across the range referred to above.