Henry Taylor is known for his portrayals of the everyday lives of Black people: rooted in fact, memory, imagination, or an amalgamation of all three. Set in East Texas, Ancestors of Genghis Khan with Black Man on horse is Taylor’s recounting of the 1933 lynching of his paternal grandfather. Articulated in his typical commanding style and simple color palette, Taylor situates his “Black Jesus” in the center of the composition surrounded by symbols of oppression and references to his grandfather including cotton fields, a prison, and horses. This work speaks to the difficulties and trials that Black people face and have faced when existing “together” with non-Black people.