I have been following Imani Mason Jordan’s work for some time. Among other things they are a poet, a scholar, an artist, a curator, and an editor. A couple days before it opened last May, we walked through their curated exhibition “Nomenclature for the Time Being” at Raven Row, a non-profit contemporary art space in East London.  The show took its title from Dionne Brand's 2022 book-length poem Nomenclature for the Time Being and gathered the work of 13 Black artists across generations and cultures that enacted what Mason Jordan proposes as a "Black feminist materiality." The hero image they used was pulled from Brand's 1993 NFB documentary Long Time Comin'. It’s a screenshot of a scene shot during the construction of Camp Sis', a feminist alternative community in Ontario, Canada. “These are practices that do not try to represent the world so much as actively reconfigure the conditions under which it can be known, felt and inhabited,” Mason Jordan wrote in their curatorial essay.