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Earlier this month, I visited Kara Walker’s Fons Americanus sculptural installation at London’s Tate Modern. In the Tate’s photo book prepared for the show, British writer Zadie Smith penned an analytical essay about the artist, specifically on the complex and varied reactions spectators had and continue to have to Walker and her art. To many, Walker’s work is “salacious”, as Smith wrote. She went on to add that some opinions on Walker’s methodology insinuate that it “eroticises, aestheticises, fetishises, and dramatises…” to capture public attention. In Smith’s analysis and in subsequent conversations I’ve had with friends about Fons Americanus , opinions were split: to some, Walker’s preoccupation with ruin and history rejigged reads perverse. Unthinkable. Boring. Careless. But to others, Walker is an expert of performance. Her career-long attempts at unpacking the strange and inglorious truths of sex, violence, and power don’t read as redundant, but rather, as disciplined artistic graduation. In the same essay, Smith critiqued Walker’s 2007-8 show, — titled My Complement, My Enemy, My Oppressor, My Love — and wrote the following: “The images themselves — violent, scatological, sexual, hateful, loving — exist in unholy mix, like the show’s title. They are given no hierarchy, moral or otherwise. All elements are presented simultaneously.” All in all, a wholly jarring, dramatic spectacle. Read Next: The Weeknd shares new song/video “Take My Breath” In a statement to Apple Music about his fourth studio album, The Weeknd offered a quote that could be described as Walkerian: “You can find love, fear, friends, enemies, violence, dancing, sex, demons, angels, loneliness, and togetherness all in the After Hours of the night.” Alternatively, Spotify’s artist blurb paints Weeknd as an “alternative R&B enigma-turned-pop star… whose aching accounts of emotionally and physically toxic indulgences have translated to multi-platinum sales and Grammy recognition.” To state the obvious: since his introduction in 2011, The Weeknd has perfected the sound of a generation of moody vocalists that can sometimes be categorized as R&B singers, but regularly diverge from its stylistic cues. In the case of The Weeknd, not unlike Walker, his reputation precedes him; the crafting of the persona is just as important as the work created under the name. Specifically, all roads lead back to House of Balloons , the seminal mixtape that changed music and Abel Tesfaye’s life. For someone whose music is so present in its pain and pleasures, much of The Weeknd’s allure and notoriety — at the minimum, amongst fans — is rooted in nostalgia for HoB . Similarly, amid the clamour and sensationalism of Walker’s work lives a sensitive, fragile question, and the title of Smith’s essay: what do we want history to do to us? While both Weeknd and Walker present impenetrable fronts, the work they produce comes often from a place of deep sadness. Over the course of years, their motivations and general approach are clear. Where Weeknd is obsessed with the darkness of the human condition (self-inflicted and otherwise), Walker is fascinated with history, and the vile, unspeakable horrors obscured in plain sight. Both practice repetition of narrative and rebirth after rebirth of ideas within the same vein. Both are consistent in the tone of their art. Each project (installation, album, et cetera) is a building block. A piece that, each time, adds a touch more complexity to a bigger, already fully architected story. (It bears noting that the comparison drawn between the two artists is made with the critiques Walker and Weeknd earn in mind; it isn’t an insinuation in sameness of their art, but in their aims to, in their own ways, shed light on the ugliest traits and events of humans.) I’ve previously written about The Weeknd on two occasions. My first take was during the Ethiopian-influenced, cross-bearing Starboy era. My second was on My Dear Melancholy , his half-hearted return to the atmospheric din that made him famous. In my writing at the time, I argued that Starboy-era Weeknd was slowly coming into his own self and identity, and that Melancholy,-era Weeknd was revealing a thinly concealed transitory phase.