Pendleton wonders if the home might function like a StoryCorps site, providing a space for oral history and reflection. Mehretu, 51, thinks it could “offer a refuge and a space of development” for creative people. Johnson, perhaps inspired by his travels to Ghana, imagines it as a site of pilgrimage — in both the physical and the virtual worlds. Leggs understands all of these visions and more coming together as part of the enduring legacy of the home, and ensuring that Tryon, as Leggs puts it, “has a Black future.”

"Afrofuturism is a way of looking at the future and alternate realities through a Black cultural lens. Black cultural lens means the people of the African continent in addition to the Diaspora, the Americas, Europe, etc. It is an artistic aesthetic, but also a kind of method of self-liberation or self-healing. It can be part of critical race theory and in other respects its an epistemology as well. It intersects the imagination, technology, Black culture, liberation, and mysticism. An an artistic aesthetic it bridges literature, music, visual arts, film, and dance. As a mode of self-healing and self-liberation, it's the use of imagination that is most significant because it helps people to transform their circumstances. Imagining oneself in the future creates agency and it's significant because historically people of African descent were not always incorporated into many of the storylines about the future."

1. The qualities attested to Afrofuturism below are applied to the work to confirm if it is, indeed, ideologically or characteristically Afrofuturist. It is unlikely that the work will satisfy all of the qualities that are listed so a level of interpolation will need to be applied in this evaluation. From various authors, the following qualities emerge:
   

• it refers to future possibilities;
• is science, and fantasy, mythology and speculation;
  
• imagines a better world;
  
• is innovative;
  
• is visionary;
  
• is an attitude, approach or questioning of 'tomorrow';
  
• expresses African values and cultural identity;
  
• recognises cultural artefacts and symbolic capital;
• is an Africa-based technology;
  
• includes creative reference to ancestral spirituality.

It is this very notion which propels my view that the idea of Afrofuturism (and hence the future prospects for the maturing of Africa's social systems, as they are represented specifically in creative and artistic production) as that which we look to as a future target that we need to attain, is in fact a misnomer. Art Africa's 2018 edition, "The Future is Present", underscores this standpoint in several articles, employing the term "prospection"; the ability that humans have to imagine and consider possible futures (by enacting possible scenarios in the present) to interrogate art, technology, automation, and Afrofuturism (Bell-Roberts & Bell-Roberts 2018: 16-18). If then, the term "Afrofuturism" implicitly infers a vision, attitude, approach or questioning of 'tomorrow' through reified art and design production and critical inspection, yet is an expression of the thinking and ideas grounded in the present, there is opportunity for Africans to abandon this futurising in favour of the 'now'.