Wilson first came to our attention with his now signature staple work in the New Museum Triennial, Songs for Sabotage. Here the artist gathered photographic images of primarily African-American figures found on street fliers, here one promoting a hair salon, stapled to telephone poles around his West Philadelphia neighborhood. Wilson enlarged, collaged, and returned the new print to the sort of substrate where it was found, wood panels as stand in for the now ubiquitous plywood hoarding of boarded up buildings and constructions sites.

The image is affixed with hundreds if not thousands of metal staples redolent of accumulations of staples on utility poles and urban kiosks. This protective scrim de-centers the subject, impacting not only the way the image is seen, but how it is seen. In doing so, the artist produces an image that is "materially specific, " where the staples act simultaneously as a critical viewing device for the photographs underneath, but also as a visual language in itself.