"The enemy was in sight. It was chugging back up the broad Mississippi, its majestic paddle wheel churning the waters, returning the day-trippers to the dock at the edge of the French Quarter. On the opposite bank, facing downtown New Orleans where the river’s curve forms the promontory called Algiers Point, Kara Walker was waiting. Her antagonist was the steamboat Natchez, a tourist fixture of the Crescent City that purveys nostalgia for a gracious antebellum South — the belles, gamblers, and cotton traders traveling between market towns, steaming past forests and plantations. A replica of its nineteenth-century ancestors, the Natchez does harbor cruises, weddings, and special events. In 1988, when New Orleans hosted the Republican National Convention, nominee George H.W. Bush and family made their triumphant arrival aboard the vessel. Now, under threatening skies on a mild Friday in late February, Walker, the celebrated artist who has made the violence and grotesque of America’s racial history her central theme, was about to deliver some counterprogramming, months in the making. ..."
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