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Page 4 "The Center Comes Alive: The African-American Artist and the Struggle for Freedom, 1963-1993," 'I Remember...'Thirty years after the March On Washington: Images of the Civil Rights Movement, 1963-1993, Exhibition Catalogue, Junior Black Academy of Arts and Letters, Inc., Dallas, Texas, 1993, pp. 2-5. "Persistence of African Influence in Artistic Expression in the Caribbean: A Dynamic Cultural Mosaic," The International Review of African American Art, Vol. 9, No. 3, Spring 1990, pp. 4-22. "Positive Negatives and Negative Positives: Confronting Stereotypes Through Visual Artistic Expression." Perspectives of Black Popular Culture, Harry B. Shaw, ed., Bowling Green, Ohio: Bowling Green State University Popular Press, 1990, pp. 85-92. A Courtyard Apart: The Art of Elizabeth Catlett and Francisco Mora, Jackson, Mississippi, Mississippi Museum of Art, 1990. "La persistencia de la influencia africana en la expression artistica del Caribe: un mosaico cultural dinamico," Presencia Africana en el Arte del Caribe, San Juan de Puerto Rico, Museo de Arte e Historia, 1989, pp. 51-82. "Introduction," Invention and Convention: Portraits, Character Studies and Figures from the Permanent Collection, Washington, D.C.: Howard University Gallery of Art, 1989, pp. 4-11. Basic Design: Systems, Elements, Applications, co-authored with John Adkins Richardson and Michael J. Smith, Englewood Cliffs, New Jersey: Prentice-Hall, Inc., 1984. "The National Conference of Artists: Some Thoughts on the Black Arts World," ARTARI, Vol. 1, No. 1, 1983 "Popular Images in Afro-American Art," Journal of the Society of Ethnic and Special Studies, Vol. 5, No. 1, 1983. "Concerning Third World Art," in catalogue, Exhibition of Third World Drawings, October, 1979. Book Review: Linda Goode-Bryant and Marcy S. Phillips, Contextures, New York: Just Above Midtown, Inc., 1978. Published in Black Art: An International Quarterly, Vol.2, No. 3, Spring, 1978.