Built Off the Record was a solo exhibition presented at the Wiesner Student Art Gallery at MIT that examined how underdocumented Black social spaces can be understood, reconstructed, and reimagined through fragmentary evidence. Centered on juke joints, informal gathering spaces built by African American communities across the rural South during Jim Crow, the project explored architectures that largely existed outside systems of architectural record, authorship, and preservation. Working primarily from Juke Joint (1990) by Birney Imes, one of the most extensive visual records of these spaces, the exhibition treated photographs not as complete representations but as boundary conditions. An accompanying interview with Imes provided insight into the making of the archive, while three scale models reconstructed specific juke joints through strict perspective alignment, building only what could be verified from the photographs. Areas beyond the camera's view were withheld, physically masked, or rendered black, making absence visible rather than resolved. Some spaces cohered only from a single viewpoint before collapsing from others, exposing how architectural completeness is often a product of perspective rather than fact. One model incorporated a speculative sequence of light and sound to investigate dimensions the archive cannot capture, including time, occupation, and atmosphere, without claiming historical certainty.