“All Fire Signs go to Heaven or the Emancipation of Mimi: Soul Singing and the Politics of Surrogation & Subjugation in the Age of Catastrophe” will be an exhibition exploring the perceived excessiveness of the Black femme body/personality/mind in American popular culture through the lens of Mariah Carey's The Emancipation of Mimi. This exhibition invites viewers to rethink and revisit public treatment of Black women and femmes and the hyper-usability of their "soul singing" in times of collective distress. The series included an art exhibition, artist talk, musical performances, featuring Black femme fire signs.

The title is borrowed from Daphne A. Brooks' "All That You Can't Leave Behind: Black Female Soul Singing and the Politics of Surrogation in the Age of Catastrophe.” Brooks explains how the American public, in times of catastrophe, turn to Black women and their art. She asserts that in the aftermath of Katrina, Black women singers created "embodied performances that recycled palpable forms of Black female sociopolitical grief and loss as well as spiritual dissent and dissonance," marking a new era of "protest that sonically resists, revises, and reinvents" the politics of Black women and femmes "hypervisibility/hyper-invisibility"  in the American cultural imaginary. Over 15 years after that catastrophe, while living in the wake of inevitable new ones, this exhibition revisits how “soul singing”, the vast creative expressions of Black women and femmes act as signifiers of protest and dissent.