time between the New York and Accra, Ghana campuses. Recent works and critical reception Teaching in Accra, Ghana Through New York University's Global Program, between the years of 2005 and 2012, Harris taught in Accra, Ghana, and created work inspired by the political unrest surrounding visibility for the homosexual community. His works “Deceivers and Money Boys,” 2013 and “Untitled (Colonial Law),” 2014, were influenced by the oppression of the homosexual community provoked by the media after British Prime Minister, David Cameron, revoked aid to African Countries with “anti-gay laws”. Philosopher, Kwame Anthony Appiah, investigates the effects Harris’ work in Ghana. Appiah believes Harris discovered a different relationship with gender roles there, for example white is more disconnected with race; Ghanaians apply white powder to their faces in ritualistic practice not for the purposes of whiteface. This interconnectivity of culture is exemplified by Harris’ interpretation of a photo taken of Italian politician, Silvio Berlusconi, that was featured in the New York Times in the early 2000s. Harris layered the photo with motifs of from Ghanaian funerary clothe and Java prints to represent the history of trade between Dutch and West Africa. Collage methodology Collage has remained an integral part of Harris's studio practice since the mid-1990s. Harris’ series in Ghana, as well as his early work “The Watering Hole”, are examples of his thoughtful collaging. Throughout his works “Jamestown Prison Erasure,” 2010, and “Untitled,” he uses translucent fabrics and shadowy figures to represent the invisibility of the LGBTQ community in Accra, and the ongoing presence of racist structures passed down from the transatlantic slave trade. According to Cassandra Coblentz, collaging helps display the strong connection between photograph and identity that exists in Harris’ work. She believes he uses collage to make straightforward imagery layered, creating movement within still photography. Self-portraiture and masquerading Harris commonly uses self-portraiture in many of his works and exhibitions, particularly his earlier works. James Smalls refers to Harris’ self-portraits as photography that engages in investigations of social issues with a focus on disguise and masquerade on the surface. One of Harris’ most recent works, “Flash of the Spirit” is a mask-based series inspired by Robert Farris Thompson's book titled, Flash of the Spirit.For this series, Harris uses masks collected by his uncle who traveled through West Africa in the 1960s that he felt represented a connection to his childhood. “Flash of the Spirit” was shot in Provincetown,