"The author’s close readings of the role of visual artifacts in generating consciousness, agency, and a sense of futurity about a better future in their audiences is both compelling and original, and her engaging prose makes it a pleasure to read."

- Simon Stow, European Journal of American Studies

"Aranke provides a lyrical and materially nuanced account of how the Black Panther Party for Self-Defense mobilized a range of visual media, objects, and tactics. . . . In the process, Aranke not only reorients our understanding of 'the political' in art of the 1960s, but also puts tremendous pressure on art-historical conceits such as 'the curatorial,' which in the Panthers’ hands does not mean protecting priceless artworks within neoliberal institutions, but rather involves preserving the bloodstained objects left in [Fred] Hampton’s apartment in order to make visible the anti-Black violence that enables the coherence of American 'civil society" and the ongoing expansion of the carceral state undergirding it."

Artforum

"Aranke demonstrates a keen awareness of the politics of looking, production, and consumption of images of Black death. . . . <i>Death’s Futurity</i> provides a model for describing images that feels implicitly in service to a larger project producing scholarship around traumatic scenarios without being unnecessarily graphic."

- Les Gray, Theatre Journal