The presence of Otobong Nkanga in her work has been described by the critic Philippe Pirotte as a “self-effacing catalyst, an invisible hand that sets the artistic process in motion”. This notion is made most explicit in In A Place Yet Unknown, a tapestry that displays a poem by Otobong Nkanga, as well as the process of its composition. The end of the woven textile is dipped in ink, which over time rises through the tapestry.

In A Place Yet Unknown grows through a process of chromatographic contamination, floating, to quote the work, in the place between stillness and motion; solidity and fragility; yesterday, today and tomorrow.