In Herbarium (2025), Bouhchichi draws inspiration from his visits to maroon communities—groups formed by formerly enslaved people who fled to remote areas in order to create autonomous societies. One series of nine engravings on alabaster stone tiles depicts plants found in Quilombo Kalunga in Brazil. Relying on knowledge passed down across generations, plant literacy is a cornerstone of maroon sovereignty, essential as it is for subsistence and healing. In addition to offering a botanical portrait of each group as seen from the ground, the work establishes a connection between these distant diasporic communities. This crucial intervention speaks to Bouhchichi’s overall artistic project: it inscribes North Africa within a global geography of Blackness.