Seeds of Hope belongs to Almat Adams’ Baby Factory Series, a body of work confronting the exploitation of girls and infants in northern Nigeria. Adams documents a cycle of calculated predation: young girls, many of them teenagers displaced by conflict and living in camps, are lured by traffickers with false promises of work, safety, and belonging, before being isolated, abused, and impregnated. Their children are then sold illegally to adoptive parents, ritualists, or into slavery. Through this series, Adams uses painting as an act of witness, bringing visibility to a form of physical, emotional, and psychological abuse designed to keep its victims trapped.