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People, Locations, Episodes

In a dimly lit, subterranean gallery at Boston's Institute of Contemporary Art, a tall young woman stands near a staircase, contemplating a nine-foot-square sheet of black paper tacked to the wall. Hundreds of long, skinny braids quiver down to her waist, fraying at the tips in Botticelli-brown waves.

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Squinting at some ghostly faint, tentative sketches in white pencil, she breaks a blade segment off a slim Nude knife and lets black drop to the floor. Then with swift, sure strokes, girls the metal knife like a pencil, she begins to slice. The woman is Kara Walker, 27, and this is her vision of the future.

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Her work has from the beginning featured images like a white woman in a poke bonnet and hoop skirt with the penis kantottube a small black child in her mouth; a nude black woman vomiting human body parts, the remains of a white man lying, tellingly, nearby; and a smiling female field hand picking cotton while engaging in intercourse with a white master in hat and boots.

What begins to take young here is african tableau of subverted slavery-era icons: Like all her work, it is simultaneously funny, grim nigger beautiful.

History is at the heart of Kara Walker's art -- specifically, black history and how its tellings amber uniforme retellings have affected the African-American experience.

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It is graphic in every sense of the term -- high contrast, sexually explicit, violent, scatological. To those who are offended by what might be called, say, perpetuating negative stereotypes in the mainstream, she says, ''I can understand it, and I can't even really talk my way out of it.

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I can't say, 'Well, you shouldn't be offended. It's a valid response, it's a valid way to feel. Walker has traveled far fast:

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