Replenishing by Maria Magdalena Campos-Pons is a series of seven, twenty by twenty-four-inch, large format Polaroid photographs. Overall, the work stands at six feet tall by five feet wide. It is vertical in orientation, meaning that its shortest side runs parallel to the ground. The seven photographs are laid out in an H shape; with three photos stacked vertically on the left and right with a single photograph joining them in the middle. The photographs depict two fragmented portraits of women with a string of beads joining them at the center. The women’s bodies are cut by the individual frames and are slightly misaligned, their bodies subtly warping and elongated, shifting just a hair to the left or right as their image skips across each frame. Both women stand in a neutral gray studio background and look straight out towards the viewer. On the three frames to the left, we see an older Black woman with short white hair. She wears an ankle-length baby blue dress with short sleeves with an all over black and white floral print. She also wears pearl earrings and a silver necklace with matching silver slippers. Her face is serene, her arms are bent as she holds her hands out at waist level towards the viewer. Her right hand is open, with palm facing towards her face while her left hand tightly clutches a string of beads that flows out from the other. In the three frames to the right, we see a younger Black woman—the artist herself—looking directly at the viewer. Her hair is slightly parted into a heart shape. She wears an ankle-length cream colored, collared dress with scalloped sleeves. The cream dress is sheer, showing a white slip dress underneath. This younger woman’s arms are also bent at the waist, her hands gently hold onto the same string of beads that flow out from the older woman’s hands and traverses across the photo frames. The multicolored beads in the women’s hands are Eleke worn by devotees of Afro-Cuban religions, their colors relating to different deities or Orishas in the Yoruba pantheon. The string of beads flowing from the women’s hands are joined by a figure eight knot in the middle photo frame, with each side containing a different set of colors. The older woman’s strings of beads contain a combination of light blue and white. While the younger woman’s beads contain two combinations of colors. One set containing red and black beads, while the other a combination of yellow and clear beads. Campos-Pons has not seen her mother since she left Cuba in 1991, the beads suggest that the figures are bound together by ritual and tradition.