Cabin and Palm Trees is a landscape photograph by Dawoud Bey, made in 2019. The photograph is a black and white gelatin silver print. It measures approximately 4 x 5 feet and hangs in portrait orientation, meaning its longest side is perpendicular to the ground. It shows the side façade of a wooden cabin covered by trees. The photograph can be divided into a foreground, middle-ground and background. The foreground is filled with two types of palm trees. One type is in the center of the composition and its fronds have spiky, fan-like leaves growing on a single long stem. There are three fan-like palms left of the center in the foreground and three more shorter fan-like palm trees directly in front of them. The leaves of the left most tree reaches to the top of the composition, and they descend in height. Dead, spiky fronds are layered on top of one another, completely covering the trunks of the trees from the canopy to the roots. The composition is framed by the second type of palm tree. There are two of these trees on the left side of the image and three on the right side. They have light, thin trunks that reach up and beyond the constraints of the image. Its leaves are large, curved and reach toward the center of the composition. On the left there are two. Its leaves reach up toward the top of the image. Behind the trees in the middle-ground, a wooden cabin is right-of-center, filling ¾ of the composition. Shadows of the trees are cast onto the dirt-covered ground and up onto the wooden cabin. It stands about 1-2 feet above the ground, stilted on brick columns underneath the center, right and left side of the structure. The wooden planks are stacked horizontally. There is a large rectangular opening in the center of the cabin. It is completely void of light. There is a wooden shutter swung open, flat against the left side of the façade. Behind the cabinets’ left side, more forestry fills the background. There are indistinguishable wooden structures that appear to be stables and fencing. This work is part of a series that portrays the physical sites of the forced labor of enslavement. Taken at sites with an unfathomably traumatic past, this series represents a deep witnessing and rich visual description, evoking the past in now unpopulated landscapes.