In "A Feast of Scraps" (1994–98), he inserted pornographic and stereotypical photographs of black men, complete with invented captions ("mother knew," "I fell out" "It's a process") into albums of family snapshots including graduation photographs, vacation snapshots, pictures of baby showers, birthday celebrations, and baptisms. Some of the latter photos include the artist's own family. Ligon uses this sort of imagery to subvert the stereotype of the black American family, as well as express part of his own sexuality. In this sense, photography is used as a way of representing multiple identities through the disruption of images, which expresses the fragmentation of black identity, specifically the artist’s own identity. Ligon acknowledges that sexuality is something that is not necessarily visible, so it can be erased in photographs such as photos from his teenage years. The imagery causes the viewer to imagine the identity and narrative of those depicted in these photographs, as well as recognize their own internalized perceptions of the black American family. This project draws from the secret histories and submerged meanings of inherited texts and images.