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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?
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