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PART II

THIS CONSISTS OF (2) PAGES. DETACH AND MAIL TO THE ADDRESS GIVEN BELOW. PLEASE BE SURE TO FILL IN YOUR NAME AND ADDRESS.

NAME_________________ADDRESS____________
CITY AND STATE____________ZIP_______

MR. BATES LOWRY, DIRECTOR
MUSEUM OF MODERN ART
21 WEST FIFTY-THIRD STREET
NEW YORK, NEW YORK

Dear Mr. Lowry:

As a member of the interested public, I request that you forward to me at the address given above answers to the following questions at your earliest convenience.

1. Does the Museum recognize the existence of an authentic, distinct Black Arts Movement?

2. If so, how has the Museum presented the body of work of this Movement in its permanent collection and national an international exhibitions?

3. Does the Museum's permanent collection of over 30,000 wirks of art include the works of black and Puerto Rican artists? If so, which, and how many?

4. Can the Museum claim in good faith to be a "private" institution when:
a. Its donated collection, endowments and deficit-erasing contributions are made possible through tax abatement on donors amounting to almost the full dollar value of such support?
b. It receives sizeable additional income in the form of direct public funds for so-called "free admission" and services for public school children and teachers, federal commissioning of exhibits at international exhibitions, construction of models for urban development programs, and other such schemes, as well as for sundry other publicly commissioned projects?
c. It invites and solicits public subscritpion and attendance at which admission fees are charged?

5. Does the Museum recognize this form of public financial support as imposing any obligations upon it toward the public?

6. How does the Museum provide for adequate safeguards that race plays no part in the selection of works for inclusion in its permanent collections and circulating exhibitions?

7. In view of the support of racist policies in South Africa by the investments of several corporations of prominet trustees of the Museum--David Rockefeller and the Chase Manhattan Bank, to name one--is not public credibility as to the effectiveness of these safeguards, assuming they exist, seriously weakened?

8. How does the Museum provide in its collections, exhibitions, programs, publications, and services, cultural identification for black and Puerto Rican citizens?

Transcription Notes:
*a number of spelling errors existed in the original document

Please note that the language and terminology used in this collection reflects the context and culture of the time of its creation, and may include culturally sensitive information. As an historical document, its contents may be at odds with contemporary views and terminology. The information within this collection does not reflect the views of the Smithsonian Institution, but is available in its original form to facilitate research. For questions or comments regarding sensitive content, access, and use related to this collection, please contact transcribe@si.edu.