[2] The BRC was formed by Emanuel Admassu, Germane Barnes, Sekou Cooke, J. Yolande Daniels, Felecia Davis, Mario Gooden, Walter Hood, Olalekan Jeyifous, V. Mitch McEwen, and Amanda Williams and all placed newly commissioned works in the exhibition.

[4] A notable exhibit was a large-scale fabric-printed BRC manifesto covering and disrupting directions to the galleries that bore the name of Philip Johnson, the controversial original director of the architecture and design department of the MoMA who espoused racist and white supremacist views in his youth, and failed to include a single Black architect or designer in MoMA's collection during his 6 decade tenure.

[1] We Outchea: Hip-Hop Fabrications and Public Space by Cooke uses a concrete stoop (staircase) to depict how the community responded to the division caused by the building of Interstate 81 in Syracuse, New York.

[1] Shaw of The Guardian observed Afrofuturism and speculation are themes that are present in many of the Reconstruction works, and illustrated Hoods Black Towers/Black Power envisaging a future for San Pablo Avenue in Oakland, California, a central point for the Black Panther Party, the party's ten points mapping to ten towers on proposed building sites of nonprofit organizations.

[4] Shaw of The Guardian newspaper quotes the collective's objects is “take up the question of what architecture can be – not a tool for imperialism and subjugation, not a means for aggrandizing the self, but a vehicle for liberation and joy”.