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Seven Ways of Looking at Afrofuturism, MoMA Magazine, December 2024


A Soft Hold: History as Somatic Experiencing / Anaïs Duplan on Kapwani Kiwanga, ElaineAlain, 2024


We Like to Party / We Like, We Like to Party, The Akeroyd Collection, 2023


Without Depiction of the Bodies Themselves (for Taiye Idahor), Stanley Museum of Art, September 2023

Raising Kids, Raising Institutions, Ruth Arts, September 2023

LIKE MAKIN IT TO HEAVEN & TURNIN BACK BECAUSE YOU FORGOT HOW, The Drawing Center, May 2023

We Care About It (for Hope Ginsburg), Wexner Center, February 2023

Miryam Charles’s Pragmatics of Remembering, Seen Journal, January 2023


Art or Not with Anaïs Duplan and Noelle de la Paz, Dia Art Foundation, January 2023


Romi Crawford and Anaïs Duplan on Citing Black Geographies, Gray Gallery, December 2022


Responsibility in the Impossible, Berfrois, October 2022


In the Wilds of Black Sound, Resonance Journal, September 2022


For/On Rachel Jones, Chisenhale Gallery, June 2022

Bodybuilding, Art Journal Open, June 2022


The Breath of Empty Space: Poetic Response, Bronx Museum, May 2022

Black Sound as Liberation Technology, ft. Camae Aweya, Anaïs Duplan, and Taylor Johnson, CAAPP, April 2022

Music is a Vehicle for Perceiving: Interview with Anaïs Duplan, Port Magazine, April 2022


Review: I Need Music, Center for Literary Publishing, April 2022


We All Earned Our Freedoms by Giving Concerts (for Dave Harris), Playwrights Horizons, March 2022


Studio Check In with Anaïs Duplan, The Studio Museum in Harlem, February 2022

Nurturing Artists of Color at the Center for Afrofuturist Studies, The Sanctuary for Independent Media, January 2022


Artforum: Sky Hopinka’s Top Ten Highlights of 2021, December 2021

What Does it Mean to be a Visitor? Interview with Sky Hopinka, Art 21, September 2021


2021 Queer|Art Recent Work Winner: Anaïs Duplan


Music is a Vehicle for Perceiving (Or, a Foundation for Artful Intervention). Topical Cream, December 2021


Excerpt from I NEED MUSIC. Folder Magazine, October 2021


Male Friendship Gets Put to the Test in Keith Josef Adkins’ ‘The Abandon.’ ALL ARTS, September 2021


I NEED MUSIC. Action Books, September 2021


On the Poetics of an Afrofuture: Interview with Anaïs Duplan. Broken Boxes Podcast, July 2021


The Sound of Rioting: Twelve Notes on Lawrence Andrews, Electronic Arts Intermix, June 2021

Blackspace: On the Poetics of an Afrofuture. Black Ocean, October 2020

I Will Always Be That, Ploughshares, October 2020

Martine Syms, Incense, Sweaters, and Ice, alreadyfelt: Poems in Revolt and Bounty, October 2020
Gmail – Re/ (e)Missive, Martha’s Quarterly, May 2020

What Does the Afrofuture Say? w/ An Duplan, The Afrofuture Strategies Institute, May 2020

Anaïs Duplan: An Interview by Madison McCartha, Action Books, April 2020

I Held the Truth in My Hands, The Continental Review, April 2020

Creating Art While Empowering Artists, University of Iowa, March 2020

Black Secrets: ain’t english words for it, Montez Radio Press, March 2020

For Alain, The Yale Review, January 2020

L. Franklin Gilliam, Sapphire and the Slave Girl, 1995, 18 mins. 20 secs. and four other poems, Virginia Quarterly Review, December 2019




Black Curators' Roundtable, Iowa City Public Library, October 2019
Silence in Mount Carmel & the Blood of Parnassus and Take This Stallion, Ploughshares, October 2019

Black curators discuss ‘insiders and outsiders’ in the art world, The Daily Iowan, October 2019

The Practice of Poetry: A Tool for Conducting Emotional Research, Poet’s House, July 2019

Anaïs Duplan interviewed by imogen smith, NYC Trans Oral History Project, June 2019

Two poems from Mount Carmel and the Blood of Parnassus, Windfall Room, June 2019
Eileen Myles, Precious Okoyomon and Anaïs Duplan perform for the Asylum Seeker Advocacy Project,” NOWNESS, May 2019
Why Does It Feel Natural to Want to Be Stable for the Lady in the Mirror? Daata Editions, May 2019
Making Use of the Mundane: Black Performance and Becoming, No Tokens Journal, April 2019
Martine Syms, My Only Idol Is Reality, 2007, 7:06 and other poems. Paperbag, December 2018
Tony Cokes, 5%, 2001, 10:00 and Ephraim Asili, Many Thousands Gone, 2014, 7:38, The Paris Review, November 2018
Fear and Loathing (Comin’ and Goin’), Los Angeles Review of Books, November 2018

Detroit Make Some Noise for Human Error and other poems, Omniverse, November 2018

9 Poems/The Lovers, Belladonna* Collaborative, October 2019
New Black Music Is This, Curlew Quarterly, Issue 4, September 2018

Where Should I Look? an audio guide, The High Line, August 2018

Communication after Refusal: The Turn to Love and Polyvocality, MICE Magazine, June 2018
Wundmale Christi (Wounds of Christ), The Map Is Not the Territory, June 2018
Black ‘N’ Relaxed II, BathHouse Journal, May 2018
Why Does It Feel Natural to Want to Be Stable for the Lady in the Mirror?Vassar Review, April 2018

Reading at Notre Dame University, April 2018

More than a Manifesto: The Poet’s Essay, Columbia University, March 2018

[I wanted you to cry with me], Brooklyn Poets, February 2018

Ode to the Happy Negro Hugging the Flag in Robert Colescott’s George Washington Carver Crossing the Delaware, Academy of American Poets, February 2018

Voices of Bettering American Poetry, February 2018
How Fatima Al Qadiri Uses the Internet to Create Multidisciplinary Protest Poetry, Complex Magazine, December 2017
Listings Project Artist Features: Initiative to Re-imagine New Futures. Listings Project, October 2017

Poet of the Week: Anaïs Duplan, Brooklyn Poets, October 2017
Five Things with Anaïs Duplan, Wildness, October 2017

The Lovers Are the Audience Who Watch, August 2017

N’ THEN SHE SAID “I NEED TO TELL U SOMETHIN, N’ DONT HATE ME FOR IT…” Boaat Journal, September 2017
When the Play Ends, We Have Learned Nothing about the Protagonist, Bettering American Poetry, September 2017

On Anaïs Duplan’s Mount Carmel and the Blood of Parnassus,The Coil, September 2017
Three poems from Mount Carmel and the Blood of Parnassus, New York Tyrant, August 2017
MY VIRTUAL PUSSY, MY ARTIFICIAL LUNGS, Mask Magazine, July 2017
[At the school dances, black and white girls shook on the floor] and other poems from Mount Carmel and the Blood of Parnassus, Bennington Review, June 2017

Four poems, Callaloo, June 2017

Upon Entering the Waiting Room, I Am Hunger, Washington Square Review, May 2017


Actress: ‘My Saving Grace is I Always Try to Put Beauty in My Music.’ VICE, April 2017

I Think That I Can Love It, Index Art Center, April 2017
Cocaine Barbara Plays Whack-a-Mole with Her Heart, New York Tyrant, March 2017


Moor Mother Explains Black Quantum Futurism, VICE, March 2017

Seven poems from Mount Carmel and the Blood of Parnassus, The Elephants, February 2017
Anaïs Duplan on “The Room Is Not Cold & It Is Not Dark,” Poetry Society of America, February 2017
Five poems, Elderly, January 2017
A POEM BY ANAÏS DUPLAN, Daata Editions, December 2016
‘I Know This Is No Longer Sustainable, Etc.,’ Redivider, Fall 2016
Whose America?: A Conversation with Hanif Willis-Abdurraqib on poetry after Trump, Ploughshares, November 2016
What Does Your Liberation Look Like? In Conversation with Liz Mputu and Justin Phillip Reed, Ploughshares, November 2016
One poem from Mount Carmel and the Blood of Parnassus. Academy of American Poets, November 2016
Reading for Segue Series, Zinc Bar, October 2016
Six-Foot Rosemary, FENCE, October 2016
Anaïs Duplan interviewed by Kaveh Akbar. Divedapper, October 2016
How to Find Your Self (and How to Kill It): A Conversation with Suzi Analogue and Nathaniel Mackey on Black Music, Ploughshares, October 2016
With Late Capitalism Hovering the Background: In Conversation with Wendy Xu and Jesse Hlebo, Ploughshares, September 2016
The Body is Alive and Awake, the Spirit a Decision Problem, Literary Hub, August 2016
Things that WIRED Magazine Doesn’t Talk About: In Conversation with francine j. harris and Devin Kenny, Ploughshares, August 2016
A Body that is Ultra-Body: In Conversation with Fred Moten and Elysia Crampton, Ploughshares, July 2016


Take This Stallion, Brooklyn Arts Press, May 2016


Take This Stallion: Book Review, Center for Literary Publishing, April 2016


Poet delves into a Civil War spy’s hidden history. PBS News Hour, April 2016
An Ode to the Black Brigade of Cincinnati (1862) and When the Play Ends, We Have Learned Nothing About the Protagonist, Boston Review, April 2016
The Grammatical Number, Hunger (Motivational State),
Where O Where Is the Joy of Fear, and Elegies for Living People (#2) Moko Magazine, March 2016
My Heart Like a Needle Ever True Turns to the Maid of Ebon Hue, The Journal, March 2016
Review: Fatima Al Qadiri, Brute, No Fear of Pop, March 2016


The Afrofuture, for the Time/Being: Traveling Black to the Future, Asymptote Journal, February 2016
Try Not to Smile (When You’re Not Getting Your Picture Taken), Jellyfish Mag, January 2016
The Afrofuture, for the Time/Being: In Orbit with niv Acosta, Asymptote Journal, January 2016
Interview: Jamal Moss (Hieroglyphic Being), No Fear of Pop, 2015
What Is the Doctrine of Eternal Recurrence, On How to Win with or without Trying, and Rule Number One No Rules, Horse Less Review, 2015
The Afrofuture, for the Time/Being: In Conversation with E. Jane,Asymptote Journal, February 2015
Premiere: Brother Ah – ‘Nuba,' Decoder, February 2015
Three Cheers for All the Babies Born Under the George Washington Bridge, WHY WOULD YOU EVER GO TO A POOL PARTY ANYWAY, and I FELT LIKE A TRAFFIC LIGHT AS SOON AS I GOT INSIDE YOU, Dreginald, September 2015
The Afrofuture, for the Time/Being: Mat Randol, Asymptote, September 2015
On Chance & Randomness: Synth Talk with Phil Ventre, Decoder, July 2015
Opening My Mouth, Etc., and a Real Louder Crash, Ekphrasis, July 2015
M. Learns to Pray, with W. Berfrois, July 2015
On a Scale of 1-10, How ‘Loving’ Do You Feel? Hyperallergic, July 2015
Francine Thirteen – Lady Mary, The Fire/Pars Una, No Fear of Pop, July 2015
Review: Good Moon Deer – Dot No Fear of Pop, 2015
The War of Parasites and The Fight or Flight Response, TENDE RLOIN, 2015
On Chance and Randomness: Who is Sir Thelonious? Decoder, 2015
On Chance and Randomness: Improvising with Mal Devisa, Decoder, 2015
On Chance and Randomness: Sketches for Albinos and Bastardgeist, Decoder, 2015
W., at Restaurant with M, [PANK], 2015
Tim Cosner’s DEADTECH/MODERNHOMES, Decoder, 2015
Ozy’s Distant Present, No Fear of Pop, 2015
It Sounds Cheap: An Interview with Kai Hugo on Palmbomen II, Decoder, 2015
Interview: Hama, No Fear of Pop, 2015
Blood: A Look Inside REIGHNBEAU’S New Album, Decoder, 2015


Interview: Jli No Fear of Pop, 2015
Jerry Paper: Visions of Ecstasy, No Fear of Pop, 2015
The Flying Phalangers, Tat Tvam Asi, An Account of a Child Born Alive without a Brain and the Observables in It on Dissection, and The Invalid, Souvenir, 2015
The Spacesuits: Finding Paradise with Karneef No Fear of Pop, 2015
ManifeStation Goes to Iceland, The Conversant, 2015
ManifeStation 2: Anaïs Duplan and Kione Kochi, The Conversant, 2015
ManifeStation: Anaïs Duplan and Kione Kochi, The Conversant, 2015
A Fledgling Is a Young Bird That Has Its Feathers and Is Learning to Fly, Birdfeast Magazine, 2015
I Am an Only Child (Am I Only a Child), Phantom Limb, 2015
A Sun That Will Burn Out, Berfrois, 2015
Notes on Being a Permanent Resident Alien and Other Tomfooleries, Blackberry: A Magazine, 2014
Joseph P. Wood’s Broken Cage” [PANK], 2014