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In the enclosed magazine is an article on page 15, written by Artist Painter, EDWARD CLARK. What follows is the original English text.

A MUSEUM FOR HARLEM

For some of the artists included here the term, "AMERICAN NEGRO ARTISTS", is regrettable, yet perhaps necessary in writing this article. For in this decade where "Black Power" is the cry and where black pride is the watchword, we are forced to refer to these black Americans as a whole and not to consider them as the individuals that they are. A justification that is given for this term is that the cultural background of the black American is different, and certainly we all know that the cultural expression of the black American is different from that of other negroes in the world.

Certainly the black American's greatest expression has been in  music, Jazz the only unique art form that America has produced had a profound influence on American painting, both black and white, in the 40's and 50's, notably the abstract expressionist movement. 

-Why is it that whenever the American negro artists have held a large group exhibition the results have at best been mediocre?
-Why hasn't the American negro reached a higher level in the visual arts?

Earlier this year, two american back artists reputed to have the greatest success, were interviewed by an American art magazine. The last of the above questions was asked by the interviewer. His reference seemed to be that this failure or lack of action in the arts was due to some sort of underdeveloped intellectual atmosphere. The sources of this situation go far deeper than this. I would have answered the question first with another question: why couldn't America, 100 million or so strong in the 1930's and 40's manage to produce a single artist of international fame? In my opinion, it has only been in this decade that white anglo-saxon America has freed itself from most European and cross references in the visual arts and realized a truly white expression, which for me, is to be found in pop art.