In 2012, for Documenta 13 in Kassel, Germany, Boghiguian contributed a sprawling installation entitled Unfinished Symphony (2011–12). Across more than 100 drawings, she connected Nazism and the genocide it spawned to the colonialism that preceded it. The drawings read like a book documenting the suffering and forced exile that results from dictatorships, as well as the “never-ending circularity of history,” as Christov-Bakargiev has written.
Since then, Boghiguian has continued to emphasize this circularity by drawing additional lines between past events and present conflicts. “The Loom of History” at the New Museum not only connects past dictators with the current rise of populism, but also ties colonialism to the cotton industry to slavery and, finally, to the unrelenting oppression of people of color in the U.S.
Boghiguian succinctly links these events in Woven Winds / The Making of an Economy - Costly Commodities (2016), an installation of drawings, collages, and free-standing cutouts included in the show. The work explores the rise of global trade through depictions of sea travel, slaves working in cotton fields, the Civil War, and images conveying human greed. In one powerful work on paper, Boghiguian paints a tower of dollar bills, which, as a scrawled text points out, are also made of cotton.