King Cobra, previously documented as Doreen Lynette Garner, is not one to forget History. The Brooklyn-born artist questions the neutrality associated with whiteness, converting its presence into an unignorable echo from the past. Her work articulates historical vestiges that underpin the operations of our art, culture, politics and society, invariably appearing in the form of renewed violence today. Using the corporeal as her predominant medium, Cobra incorporates a mixture of materials that articulate the ancestorial violence committed towards Africans during the transatlantic slave trade, where many were the victims of medical abuse. Cobra intertwines their narratives and names in her works. One instance is her reference to Joice Heath, whose remains were cut open in New York’s City Saloon in front of 1,500 paying spectators in 1836. In response to this, Cobra entitled a 2020 work As the gauze in my mouth filled with blood and my limp body hit the concrete, I remembered Joice Heth.