Dingus’ sculptures are made entirely from materials no one else wants, and their political power is found in this economic devaluation. The pieces have been discarded, they have been found, and they have been transformed into striking expressions of the Black imagination. There is something post-human in the Baby Giants sculptures. One even has an insect-like quality. In this sense, the radical heterogeneity of Dingus’ found materials not only reimagines Blackness but humanness itself. In this respect, the cultural becomes biological, and the biological, cultural.