In this piece, we take up haunting as a spatial method to consider what geography can learn from ghosts. Following Avery Gordon’s theorizations of haunting as a sociological method, a consideration of the spectral offers a means of reckoning with the shadows of social life that are not always readily apparent. Drawing upon art installations in Brooklyn, NY, White Shoes (2012–2016), and Oakland, CA, House/Full of BlackWomen (2015–present), we find that in both installations, Black women artists perform hauntings, threading geographies of race, sex, and speculation across past and present. We observe how these installations operate through spectacle, embodiment, and temporal disjuncture, illuminating how Black life and labor have been central to the construction of property and urban space in the United States. In what follows, we explore the following questions: what does haunting reveal about the relationship between property, personhood, and the urban in a time of racial banishment? And the second, how might we think of haunting as a mode of refusing displacement, banishment, and archival erasure as a way of imagining “livable” urban futures in which Black life is neither static nor obsolete?

在这篇文章中，我们将闹鬼作为一种空间方法来考虑地理可以从鬼魂中学到什么。遵循艾弗里·戈登 (Avery Gordon) 将闹鬼作为一种社会学方法的理论，对光谱的考虑提供了一种解决社会生活阴影的方法，这些阴影并不总是显而易见的。借鉴纽约布鲁克林的 White Shoes（2012-2016）和加利福尼亚州奥克兰的 House/Full of BlackWomen（2015-至今）的艺术装置，我们发现在这两个装置中，黑人女性艺术家都在进行闹鬼，穿越种族地理、性和过去和现在的猜测。我们观察这些装置如何通过奇观、体现和时间分离来运作，阐明黑人的生活和劳动如何成为美国财产和城市空间建设的核心。在接下来的内容中，我们探讨以下问题：在种族流放时代，闹鬼揭示了财产、人格和城市之间的关系是什么？第二，我们如何将闹鬼视为一种拒绝流离失所、放逐和档案擦除的模式，作为一种想象黑人生活既不静止也不过时的“宜居”城市未来的方式？