
The Last Billboard, Pittsburgh PA, 2017

Protest of text removal Pittsburgh PA, photo by Heather Mull 2017

Manifest Destiny, Library Street Collective, Detroit, MI. Curated by Ingrid LaFleur

The Value of Sanctuary, St Johns Cathedral, NYC, 2019

signs sponsored by (and photo by) Vanessa German

Goethe Popup KC, MO

TABPITF 10 commissioned artists window designs, Kansas City Popup Goethe Institute

TABPITF commissioned artists, Kansas City Popup Goethe Institute, MO

There Is Black Housing In The Future, Ayanah Moor and Alisha B Wormsley, Elmhurst Museum, IL

For Freedoms, Times Square Arts

Design for Westmoreland County project, Make Our Differences Our Strengths, 2020

TABPITF Flag designs by Lovie Olivia, Robert Hodge, Philip Pyle and Alisha B Wormsley

TABPITF Grantees in Houston TX
Mothership: Voyage Into Afrofuturism, Oakland Museum, CA
Texas Biennial, Artpace, San Antonio, TX


Manifest Destiny, VCU Qatar, Saudi Arabia. Curated by Ingrid LaFleur

Southbank Centre London UK

TABPITF Objects, Homewood, PA



Alisha B. Wormsley, There Are Black People In The Future, Kunsthal Rotterdam, 2022, photo Fred Ernst
There Are Black People In The Future
There are Black People in the Future is inspired by afro-futurist artists and writers who highlight the need for Black people to claim their place. Through the inscription and utterance of the words, ‘There are Black People in the Future,’ the project addresses systemic oppression of black communities through space and time by reassuring the presence of Black bodies. In 2017, Wormsley placed these words on a billboard in East Liberty, a neighborhood in Pittsburgh’s east end that has suffered gentrification. When the billboard was removed by the city, community members protested, in response to this community support, Wormsley has raised grant money to artists, activists, and community workers in Pittsburgh around their interpretation of the phrase “There Are Black People in the Future”. Since then, the billboard has been replicated in Detroit, Charlotte, New York City, Kansas City and Houston, internationally London, Accra and Qatar. Each site can pull from this precedence of supporting Black futures locally, whether through commissions, grants, project funding or programming. The text, which Wormsley encourages others to use freely, has since been used in protest, critical art theory, essays, song, testimony and collective dreaming.
Timeline