In Black Maths, Baltimore-based artists Adam Holofcener and Antonio McAfee use audio recordings and photography to investigate the complex equations by which the past operates on the present. The exhibition opens a dialogue between Holofcener’s quadrophonic sound installation Upresting (2015–2016) and McAfee’s Counter-Archive Project (2011–present). Holofcener’s Upresting channels field recordings from the 2015 Baltimore Uprising into a sound environment that simulates the shifting acoustical sensations of a body navigating a protest. Visitors are invited to speak into a microphone to hear their voices become a multitude. McAfee’s Counter-Archive Project addresses the complexity of representation, transforming black-and-white portrait photographs taken for The Exhibition of American Negroes organized by W.E.B. Dubois, Thomas Calloway, and Historic Black Colleges at the Paris 1900 International Exposition. By manipulating and layering this source material, and then amplifying and recombining it in a shared space, Black Maths invites visitors to bring their own bodies to bear in an active, visceral encounter with themselves and across time.