The Three Graces
“If [we are] to have not only a future but a destiny, it must be consciously and deliberately designed.”
—June Jordan, “Skyrise for Harlem”


                              cut of memory and sky,
                conjured by a half-million breathing earths between two rivers,
the girls’ heads rise
                cut of precise lip and pigtail,
                              angled toward imagination, the godhead girls rise
                like wisps of smoke
like plumes of gravity
                the ancestor girlheads rise
                                between us              
                                                                  —into this open we protect for Harlem’s dreaming  

us—orange and purple
                                fly and whorl                                                 are storytellers

how can a person a community a place a dream  
                                                                                  be told?         how does a person decide to tell, to dream
                                                                     this from that?         that or this?

we hold aloft a memory pasted in fog and newsprint         our feet glancing dancing sliding & grooving
     over June’s leveled dust         we’ve conjured a cloud of haunt so the haunt cannot cloud         we’ve made
     a suspended water of visible history          no lying no denying          give grief a place to drift a gaze        
real enough to produce a rain to mulch a terrace to feed a plant to pattern a palm         we hold up this
                 thickbellied, papered-over violence          bear its weight to honor the memory-holders

our galaxy-eyed,
                femme-dusk storytelling:
made of caterpillars, leaves, known and unknown aspects of the universe, of
touch, of the gravity of being seen, of hunger/tender, of vines tendriling the
light, of children’s hands at play, of land unkempt left to be wild again, to
flourish and fruit on its own accord, like one’s own body, no more
architecturally gridded violences, cadence and hum of unobstructed
living—sound: picked cherries and a trumpet breathing into a velvet evening,  
dishes and dinner laughter scraping tables, of love being made, a storytelling
made up memory, of the now, of flesh, kept and released like the sharp angling
of silver fish, their collective, mercurial dart, like boys in a breaking July heat
wave            pouring out of summer school            gathering in a cloud around

                 James Powell
                 James Powell

                                  Jimmy Powell

we, fly and whorl, protect a sky
improvisational enough                                                                          & beneath this certain kind of history for

all      

       of Harlem’s children to fly home,

wash their still-small feet
with jasmine oil
salt
flowers, roots, smoke
& song


Now:
notice the blankness between us
the space June carved for dreaming
that we hold together
in which
infinite, yet-to-be futures
yet to be envisioned, yet to be made
beckon, behold, invite

notice our bodies                                                                     pretty titties, toes done                         eye a galaxy, mind a whorl—                

notice how the light
source that glosses our bodies
is you, Harlem, the promise of your imagination,

                                                                                lifting on your sound

                                                                                             three Black girls pigtailed
                                                                                                             stubborn and free as water as light
                                                                                             up float their ancestor heads
                                                                                arising from you, then and now,    
you, the proof—


June said: “We did not know that we would win. / We knew that we were right.”—

that walking into the sky is possible
Alexandria Smith was seated at her dining room table when a copy of June Jordan’s Directed By Desire (2005) arose from its slumber on an adjacent bookcase, sprouted wings, soared off the shelf, and landed squarely on her shoulder. “I believe in spirits and ghosts… June definitely knocked the book off the shelf,” she remembers, and so begins the origin story of The Three Graces (2026), a research-based drawing Smith was commissioned to compose for Jupiter Issue 007: Architecture, published alongside which is Proof of Concept, a poem written by Christina Olivares.

This moment of literary levitation reminded Smith of an Instagram post shared by fellow artist Simone Leigh about Skyrise for Harlem: an architectural intervention Jordan envisioned with R. Buckminster Fuller. In 1964, Jordan was commissioned by Esquire magazine to write an article about the revolt that erupted in Harlem following the police murder of fifteen year old James Powell. As noted by Sharifa Rhodes-Pitts, “rather than explain any of that, Jordan responded with a dream. She proposed a collaboration with the architect R. Buckminster Fuller: a radical/visionary redesign of Harlem to create an environment where such events were not possible.” Though the project never came to fruition, it has supplied ample fuel for those who wish to respond to the history of Harlem in its manifold complexities, as Smith does in The Three Graces.  

In an effort to physically embed the drawing within the architectural landscape that Jordan was so intent on reimagining, the work will be on view from September 13 through November 15, 2026 in the window of Long Gallery Harlem, which overlooks Adam Clayton Powell Jr. Boulevard. On September 13, 2026 (1-3pm), Jupiter will host a public convening at Long Gallery, featuring a reading by Olivares and a conversation between Smith and Rhodes-Pitts. (RSVP here)

Camille Bacon
Alexandria Smith was born in the Bronx, New York and earned her BFA in illustration from Syracuse University, New York; MA in art education from New York University; and MFA from Parsons The New School. Smith was a public and charter school art teacher in Harlem and the South Bronx for over a decade.

Smith is the recipient of many awards, fellowships, and residencies such as the Queens Museum/Jerome Foundation and Fine Arts Work Center Fellowships, Skowhegan, MacDowell, Yaddo, LMCC, and Civitella residencies and a Pollock-Krasner Grant. Her work has been exhibited nationally and internationally and is in many public collections such as The Studio Museum in Harlem, Mt. Holyoke College Art Museum, Longlati Foundation, and the K Museum of Contemporary Art.

Smith lives and works in New York and is Director of Undergraduate Studies in Studio Art and Assistant Professor in Painting and Printmaking at Yale University in New Haven, Connecticut. Alexandria’s most recent solo exhibition entitled “in this here place, we flesh” was held at David Castillo Gallery in Miami, FL. 

Photo: Amoroso Films
Christina Olivares, PhD, is the author of the books of poetry Future Botanic (Get Fresh Books), No Map of the Earth Includes Stars (winner of the Marsh Hawk Press Book Prize), and the chaplet Interrupt (Belladonna* Collaborative). Olivares’s poetry has been published widely, including by The Academy of American Poets, the Poetry Project and in Lincoln Center’s “Working Intersections,” and her nonfiction writing on poets and poetry has been published in BOMB Magazine, Makhzin, Lambda Literary, and Jacket2. Olivares is a recipient of BRIO Nonfiction and Poetry Grants, a Lower Manhattan Cultural Council Residency, and two Jerome Foundation Travel and Study Grants. Olivares’s scholarly research explores the literacy practices of young LGBTQIA+ people of color to better understand de-institutionalized, youth-authored learning. She identifies as queer and American-Cuban and is proud to be from the Bronx.
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