Afterwards is an installation built around a fictional narrative set in an unknown time after a cataclysmic event. The narrative weaves Tracey's personal experiences within an environmental issue with which she endeavour to address questions of value, balance, and capitalism. The installation has a museum aesthetic exhibiting false artefacts supporting the story. She use the museum-type environment to place a value on the artefacts and question “museum culture”. The narrative includes the balance of horseshoe crabs and red knots, pharmaceutical companies, marine research scientists, vaccinations, sky blue blood, epic migration routes, childhood memories, baseball, NY yellow school buses, transportation routes, sea level rise, social structure, and biodiversity collapse. The artefacts reference value, balance, and the patriarchal exploitation of resource and sacred cultural objects.

The artefacts include various cyanotype maps, scientific notebooks, a horde of copper coins, a ceremonial copper necklace, “spiritual” ceramic tokens and bowls, currency plates, public notices, and a “replica” wampum belt. All are displayed in two Victorian vitrines or hung on the wall as if in a museum. She includes information plaques to give each piece context.