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The other one was Edward Milman. And this was an appointment, I guess one of the biggest Bureau commissions, I guess the biggest one he's ever done under the Federal Art Program, and that was for the Post Office, I think. I'm pretty sure. 
...The difference, you see, was that the Federal government in their mural competition...they offered...you didn't just work for $97.00 a month. They offered a specific sum of money. 
...But Ed Milman, who died I think two years ago, was a very influential artist, was a wonderful guy. Gee, I can't think of the other two who have passed on. 
...Well, it started off with a little bit of turmoil. One of the first supervisors of the whole Illinois State Art Project was a woman, and I can't remember her name now, and I wan't that involved with the activities, because the department at the time had become a real problem with her. There was question of pretty serious disagreements with her and the artists who were working on the project at the time just before I went on. And again, as I mentioned, we had an artists union. This was the first time in the history of America that artist had unionized. So the difficulty arose out of some of her practices, administrative practices...as well as there were charges that there was discrimination in terms of the Negro artists, because at the time, in the beginning there was only one Negro artist on the easel project, and I'm not sure whether there were any in designing or not, but in 
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