Flowers in the Basement (FITB) was the name of both a project and a group of artists consisting at various times of Kite, Tsedaye Makonnen, Alisha B. Wormsley, Mel Elberg, and Frances Ines Rodriguez, organized by Amy Ruhl with the aim of creating a new original performance work, and to radically reimagine family structures and reproductive labor away from colonial, capitalist, and heteropatriarchal imperatives. Bringing together a group of collaborators working in vast fields of inquiry — Afrofuturism; queer, speculative, and Marxist feminisms, Lakota epistemologies; and African migration narratives — their mode of collaboration forged collectivity while respecting the autonomy of each artists’ individual praxis. FITB borrowed aspects of devised theater as a strategy to connect a group of individual artists and flesh out both their political affinities and differences, creating a kaleidoscopic point of view through diverse forms such as film, poetry, jokes, noise, video art, monolog, dance, and sculpture.