Box contents include:
1. Red Alabama Soil (mounted in exterior of box lid)
2. Tops Snuff Sign (mounted inside box lid)
3. Relief Sculpture, untitled, 1979 (top compartment)
4. Pine Jackknife carved by artist's father, William A. Christenberry, Sr. (top compartment)

The three dye-transfer print plates are as follows:
1. Signs, Coleman's Cafe, Greensboro, Alabama, 1977
2. Child's Grave with Rosebuds, Hale County, Alabama, 1975
3. Landscape with Kudzu and Watering Trough, near Greensboro, Alabama, 1979

The seven Ektacolor print plates are as follows:
1. House in Summertime, near Greensboro, Alabama, 1972
2. Church, between Greensboro and Marion, Alabama, 1973
3. Window with Curtains, Greensboro, Alabama, 1975
4. Egg Carton Cross, Hale County, Alabama, 1975
5. Cotton Gin, Havana, Alabama, 1976
6. 5¢ Sign, Demopolis, Alabama, 1976
7. Corn Sign with Storm Cloud, near Greensboro, Alabama, 1977

William Christenberry’s Alabama Box is an homage to both his native state and to his multidisciplinary background in painting, sculpture, and photography. Inside the wooden box is a carefully curated collection of photographs, found objects, and personal memorabilia including a knife carved by Christenberry’s father. As a student at the University of Alabama, Christenberry was fascinated by the work of Marcel DuChamp and his revolutionary “readymades.” Similar to a DuChamp readymade, removed from its context, Alabama Box may not first appear as an artwork but as a functional item. Christenberry consistently used found objects in his work as a way to document the changing landscape of the rural American South, paying homage to his homeland. Ultimately, the individual items found in Alabama Box serve as a testament to Christenberry’s impact across artistic mediums and a time capsule of his legacy.