[2] She references notions of non-linear perspective and double consciousness through arrangements of objects from popular culture and personal ephemera.

Items such as VHS tapes of black cinema, graffitied documents, and books by Alex Haley and Eldridge Cleaver often appear in her photographs or reside within her installations.

In the fall of 2012 a solo exhibition of her work, Leslie Hewitt: Sudden Glare of the Sun, was presented at the Contemporary Art Museum St.

[16] Leslie Hewitt: Collective Stance, a solo exhibition with collaborative works made with cinematographer Bradford Young, was presented at Sculpture Center in Queens NY in 2016.

Each image includes a document showing clear evidence of use—perhaps a book with worn corners, a magazine folded open to a particular page, or a sheet of paper with inscrutable writing.

Whether soft, grainy wood or richly textured domestic carpet, this ground speaks to the interior nature of Hewitt’s work and its metaphoric and physical location within the built spaces of human con- struction and occupation.

"[19] Also, riffing on the premise of "same but different" was the photo installation Untitled, in which a large starch-white slab was propped against the wall, scaled to the dimensions of the gallery's doorway.

[23] The films include footage from 2010 – 2012 of locations where iconic civil rights photographs were taken in the 1950s and 1960s in Chicago, Memphis, and parts of Arkansas, which were all palpably transformed by the Great Migration.

"Individual frames span 15 to 24 seconds and center around single details isolated from the archival images—a black body bent, a crack in the white marble stairs—that are then “restaged” and filmed on the same consecrated grounds.

"[25] “Hewitt draws the tradition of the still life and combines it with the camera's ability to “shift the view of the world and hold it still.”[26] In 2013, Hewitt released a series of photographs that were displayed at Sikkema Jenkins & Co. within tilted maple box-frames, that brings into focus the morphing of images in a studio into object-like artworks shown in a gallery.

In Untitled (Perception), 2013, the block of maple that rests on a stack of three books, the only identifiable one being a collection of James Baldwin's essays, matches the work's wooden frame.