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5.

country. New and upcoming artists, writers, dancers and musicians were in their heyday. Harlem was at its peak in creativity and vitality. I remember dressing up in my beautiful dresses made for me by my mother and strolling [strikethrough] up and [strikethrough] down 7th Ave & Lenox Avenue and 125th Street in Harlem. It was one big continuous party. I had never seen Black folk so happy and enjoying the big city life. I also took advantage [strikethrough] in visiting [strikethrough] of opportunities to visit the impressive museums in New York. I was very taken by the canvases of John Marin, Georgia O' Keefe and Arthur Dove.

In December of 1934 I was awarded a Master's Degree from Columbia University Teachers' College where I did a master's thesis on the subject of marionettes. That same year I founded the Marionette Club in Washington, D.C. and directed many marionette shows at [strikethrough] my [strikethrough] the Junior High School where I taught.

Noticing the [strikethrough] sparcity [strikethrough] scarcity of art activities for black children in the District, I founded and directed the School Art League Project, where prominent artists and scholars could lecture and give demonstrations for our students.

Along with this project I also set up a Saturday morning art appreciation club. During this time Washington had many artists trying to market their works, but in those days there were no professional galleries open to Negro artists. Fortunately Professor Herring and Alonzo Aden answered that [strikethrough] call [strikethrough] need and in 1943 opened the Barnett-Aden Gallery, The first chartered private gallery in the United States owned and operated by Blacks. I was one of the charter members of this corporation. I held the title of Vice-President of this gallery. Many of my works could now receive exposure to the public. I started to paint more than I had previously