In 1973, Benjamin Wigfall (1930–2017) purchased a renovated livery stable in Ponckhockie, a primarily working-class Black neighborhood in Kingston, New York, to use as his studio. An admired printmaking professor at the State University of New York (SUNY), New Paltz—the artist was known for his innovative engraving techniques, such as “burning,” or mark-making with a red-hot tool—he often traveled to Ponckhockie to conduct oral-history interviews with its residents at the local Baptist church and knew the place well. The conversations were part of his “audiographic” practice of speaking with “