Much of Raengo’s work also revolves around Critical Race Theory (CRT).

In her book titled Critical Race

Theory and Bamboozled, she examines the foundations of CRT and argues that in as much as the society
can represent race as a purely discursive construct, its grip on real lives is still existent. Additionally,
every desire to no longer “see” race, or “see through” it, does not prevent the “thereness” to the racial
body and the very idea of racial difference that cannot be ignored. She argues that the reality of racial
discrimination and the continued devaluation of black lives still demand accounting. The foundations of
CRT examine social, cultural, and legal issues primarily as they relate to race and racism in the United
States (). CRT’s basic tenet is that racism and disparate racial outcomes are the result of complex,
changing, and often subtle social and institutional dynamics, rather than explicit and intentional
prejudices of individuals. CRT intersects with anti-Black racism when dealing with common aspects such
as oppression. Thus, an examination of past presentations: What Happened in the Tunnel, Imitation of
Life, and Susan Murray’s discussion on ‘living test patterns” is crucial in understanding the
intersectionality of anti-Black racism, visual arts, and oppression.

In the present times, it is easier to read the racial joke and its assumptions as depicted in the play.
Essentially, the two women travel without men. The evident racial and class order of a mistress
and her maid makes them appear as a “proper” female couple. However, their switch and
laughter can be interpreted as in part complicit with the notion that the woman of colour is not a
proper object of desire for a white man. In this regard, the oppression of persons of colour is
heavily depicted through the visual art performance in the earlier times at a time when the world
was beginning to embrace motion picture.