Sondra Perry’s Eclogue For No Horizon (2017) explores the science-fiction concept of terraforming, a process in which a planet is made habitable in order for the human race to survive. Spread across three screens, the work draws critical parallels between this fictional expansion into outer space and the real legacies of colonization on Earth. Perry first considers Seneca Village, a predominantly African-American community established in New York City in the 1820s, before the state’s abolition of slavery. The settlement was destroyed by the city in 1856 in order to develop Central Park under the pretense of “eminent domain,” which means the power of the government to seize private land for intended public use. In a second segment, Perry investigates the commission by African dictators of monumental statues produced by North Korea’s Mansudae Art Studio, locating these towering structures as a paradox of pride and corruption. Perry’s third consideration of terraforming explores the formation of the body in relation to the landscape, examining how human form organizes our perception. Eclogue For No Horizon underscores that making a landscape inhabitable is preceded by a claim for the land itself, in turn, transforming ecologies through occupation.