Chocolate is political. Critical awareness of where cocoa beans come from, who works for the pleasurable consumption of chocolate products, and of the ethics and sustainability of food production is not confined to foodies discourse. Debates about fair trade and workers’ rights and child labor are nothing new, either, yet they reveal an uncanny resemblance to (neo-)colonial trading systems. In 1920, W.E.B. Du Bois perceptively described the contradictions underlying the United States’ appetite for colonial commodities. In “The Souls of White Folks,” he writes: “Rubber, ivory, and palm-oil; tea, coffee, and cocoa; bananas, oranges, and other fruit; cotton, gold, and copper—they, and hundred other things which dark and sweating bodies hand up to the white world from their pits of…

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Installation view: A Subtlety, or the Marvelous Sugar Baby. Photo: Jason Wyche, Artwork © 2014 Kara Walker, full photo credits here

A massive, brilliantly white, sugar-coated sphinx commanded visitors’ attention at the Kara Walker exhibition at the Domino Sugar Refinery in Brooklyn, New York last spring: At the behest of Creative Time Kara E. Walker has confected: A Subtlety or the Marvelous Sugar Baby
an Homage to the unpaid and overworked Artisans who have refined our Sweet tastes from the cane fields to the Kitchens of the New World on the Occasion of the demolition of the Domino Sugar Refining Plant. Referring to her artwork as a subtlety in the tradition of medieval and early modern confectionary sculptures, Walker highlights its character as a culinary political allegory: similar to the elaborate animal figurines and grandiose sugar buildings gracing the aristocratic tables of…

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