Exhibitions | National Building Museum https://nbm.org Fri, 07 Nov 2025 23:03:05 +0000 en-US hourly 1 https://wordpress.org/?v=6.8.3 The Wave https://nbm.org/exhibitions/the-wave/?utm_source=rss&utm_medium=rss&utm_campaign=the-wave Wed, 22 Oct 2025 17:09:17 +0000 https://nbm.org/?post_type=bbwp_exhibitions&p=8992 Lightness of Strength: The Wave Opening on December 27, 2025 Suspended in the Great Hall of the National Building Museum, The Wave is a 55-by-180-foot recycled aluminum space frame that demonstrates how…

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Lightness of Strength: The Wave

Opening on December 27, 2025

Suspended in the Great Hall of the National Building Museum, The Wave is a 55-by-180-foot recycled aluminum space frame that demonstrates how advanced material logic and fabrication can shape the next generation of resilient architectural structures. Its lightness and strength reveal how engineering precision and design imagination can coexist in a single form.

Led by Catholic University of America professor Tonya Ohnstad in collaboration with students and industry partners. The Wave is a full-scale research project demonstrating how material innovation and collaborative fabrication can shape a more sustainable built environment. The exhibition transforms the museum into a place for public discourse and scholarship—inviting visitors to engage with the evolving relationship between structure, material, and design.

About the Catholic University of America

The Catholic University of America is the national university of the Catholic Church and the only higher education institution founded by the U.S. bishops. Established in 1887 as a papally chartered graduate and research center, the University comprises 12 schools and 31 research facilities and is home to more than 5,500 undergraduate and graduate students.

Thank you to our sponsors

ASI, DSI, Harmon, Norsk Hydro, and Dyneema.

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Coming Together https://nbm.org/exhibitions/coming-together/?utm_source=rss&utm_medium=rss&utm_campaign=coming-together Fri, 08 Aug 2025 16:58:49 +0000 https://nbm.org/?post_type=bbwp_exhibitions&p=8334 Coming Together explores how American cities are reshaping their downtowns in the wake of the COVID-19 pandemic through reimagining how we live, work, play, eat, worship, learn, and heal as we turn a new page in the history of the American city.

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Coming Together

On view through Fall 2026

"Cities have the capability of providing something for everybody, only because, and only when, they are created by everybody." — Jane Jacobs 

Coming Together: Reimagining America’s Downtowns explores the lessons learned and opportunities embraced in the wake of the COVID-19 pandemic. After a period of adapting and reshaping, cities across the country are coming to terms with lasting changes in work, housing, mobility, entertainment, and recreation.
Across America, mayors, employers, institutions, and communities are partnering to generate strategies to improve urban spaces for everyone. By coming together, we can reimagine the way we live, work, play, eat, worship, learn, and heal within our downtowns. A new chapter in the history of the American city lies ahead.
Through case studies, data infographics, large-scale video, digital interactives, and voting activities, the exhibition offers a multimedia exploration into how bright the future of American downtowns can be if we continue coming together.

Coming Together is the first of three major exhibitions planned, for the Museum’s Future Cities initiative, a multi-year, interdisciplinary initiative that explores the city as a hub, catalyst, essential building block and reflection of society. A special feature of this exhibition is the City Action Hall, a collaboration space where organizations committed to improving neighborhoods and cities can meet, strategize, and take action. The City Action Hall connects inspiration with real-world planning. Join the Museum in improving cities by hosting your next meeting in this dynamic space. Please see below for more details about the hall and how to apply. To learn about Museum events hosted within the City Action Hall, please visit nbm.org/events/.

What is the City Action Hall?
When is it available?
How much does it cost?
What features does the room include?
How do I reserve it?
Are there any guidelines?

Thank you to our sponsors.

Coming Together Sponsor Graphic 2 (1)
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Momentum Park(our) https://nbm.org/exhibitions/momentum-parkour/?utm_source=rss&utm_medium=rss&utm_campaign=momentum-parkour Wed, 18 Jun 2025 12:35:44 +0000 https://nbm.org/?post_type=bbwp_exhibitions&p=7902 Momentum Park(our) July 3-20, 2025 The National Building Museum invited visitors of all ages to experience Momentum Park(our), a bold new installation that transforms the Museum’s Great Hall into an…

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Momentum Park(our)

July 3-20, 2025

The National Building Museum invited visitors of all ages to experience Momentum Park(our), a bold new installation that transforms the Museum’s Great Hall into an immersive parkour environment. Open from July 3–20, the limited-time exhibition offers a thrilling physical and educational journey through the intersections of movement, design, and spatial awareness. 

Rooted in the athletic discipline of parkour, developed in France in the 1980s and shaped by early 20th-century military training, Momentum Park(our) celebrates the human body’s ability to move fluidly and creatively through space. The installation is also inspired by the landscape architecture of Lawrence Halprin, whose dynamic public spaces have long served as natural canvases for parkour athletes. Notably, the National Building Museum presented The Landscape Architecture of Lawrence Halprin in 2016 with The Cultural Landscape Foundation. The exhibition provided context for Halprin-designed landmarks such as Freeway Park, Skyline Park, and the FDR Memorial, all of which continue to shape how we move through and interact with urban space.

Guests will navigate a custom-designed obstacle landscape that challenges agility and invites new ways of engaging with the built environment. 

The exhibition was developed in partnership with Mark Toorock, a leading figure in the parkour community and founder of American Parkour. His creative and technical guidance helped shape Momentum Park(our) into a one-of-a-kind experience that’s both physically engaging and grounded in real-world movement practices. 

Key highlights include:  

  • Forces of Motion Zone: Interactive stations exploring the science of motion, momentum, kinetic energy, and acceleration, designed to engage visitors with hands-on learning. Sign up for our workshops HERE.
  • Live parkour performances and demos by professional athletes, who will also be onsite offering coaching and informal talks. 
  • Immersive media projections and photography that highlight the global culture of parkour and its deep connections to urban design. 

There are no upcoming events.

Frequently Asked Questions

Is the activation free or do you need to purchase tickets?
Do you need experience doing Parkour or are first-timers welcome?
What is the recommended age range for this activity?
Are there member hours?
Any equipment /gear needed? What kind of clothing should those who want to partake wear?

About Mark Toorock

Mark Toorock is a pioneering figure in the global parkour movement and the founder of American Parkour (APK), one of the first organizations to bring parkour training, education, and community development to a broad audience. With experience in engineering, technology, and fitness, Mark has spent over two decades advancing the discipline through accessible programming, innovative equipment design, and nationwide instructor training. 

At the heart of his work is a deep belief that resilience and self-belief can only be earned through real-world accomplishment. Mark emphasizes that teachers and coaches play a vital role in this process—by creating thoughtful, achievable challenges that allow students to succeed and grow. Through APK, he continues to champion play and movement as fundamental human rights—and lifelong sources of empowerment

About American Parkour

American Parkour (APK) is a leader in parkour education, performance, and community development. Founded to make parkour safe, accessible, and transformative, APK has created scalable training systems used in over 40 schools and youth programs across the United States. Its curriculum emphasizes creativity, resilience, and mastery through movement—offering students real opportunities for success and self-discovery. 

APK has performed and taught in more than 14 countries, representing the discipline on an international stage. The team has worked with some of the world’s leading brands to showcase parkour as both an art form and a celebration of human potential. Through school programs, instructor certifications, and public events, American Parkour continues to champion play and movement as powerful tools for personal and collective growth. 

Thank you to our sponsors

 

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Transform DC https://nbm.org/exhibitions/transform-dc/?utm_source=rss&utm_medium=rss&utm_campaign=transform-dc Thu, 05 Jun 2025 16:57:58 +0000 https://nbm.org/?post_type=bbwp_exhibitions&p=7841 Transform DC Open view until Labor Day Transform DC is an art project during which DC public school students work collaboratively to create large scale murals. For the third year…

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Transform DC

Open view until Labor Day

Transform DC is an art project during which DC public school students work collaboratively to create large scale murals. For the third year in a row, these are installed at the National Building Museum as part of a city-wide culminating public installation from May 26 through Labor Day. The murals are part of the project-based Transform Cornerstone curriculum for grades 9 through 12. The theme for this year is the “ Power of Connection.”

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A SOUTH FORTY: Contemporary Architecture and Design in the American South https://nbm.org/exhibitions/a-south-forty-contemporary-architecture-and-design-in-the-american-south/?utm_source=rss&utm_medium=rss&utm_campaign=a-south-forty-contemporary-architecture-and-design-in-the-american-south Wed, 22 Jan 2025 19:31:37 +0000 https://nbm.org/?post_type=bbwp_exhibitions&p=6803 A South Forty, an exhibition organized and curated by The Fay Jones School of Architecture and Design, University of Arkansas, is devoted to the vibrant, distinctive contemporary architecture and design practices of the American South. 

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A SOUTH FORTY: Contemporary Architecture and Design in the American South

On view until Winter 2026

A South Forty, an exhibition organized and curated by The Fay Jones School of Architecture and Design, University of Arkansas, is devoted to the vibrant, distinctive contemporary architecture and design practices of the American South. 

Modern architectural history in the regional context of the American South is conventionally framed by singular figures, from Paul Rudolph and the Saratosa School of Florida to Fay Jones and Bruce Go in the Ozarks and Oklahoma, or stereotypical typologies and appearances. In counterpoint, A SOUTH FORTY aims to provide an overview of the current vitality of contemporary architecture and design in the American South, through both illustrated profiles of buildings and practices, and statements of principles and observations by those in practice in the region. 

 The contemporary “story” centers on the development of architecture and design in the American South over the last generation (from 1990 forward) as the region undergoes rapid economic and population growth, withstands and recovers from multiple natural disasters, and discovers a more complex and diverse identity amidst the historical societal traditions and conventions. Such a mapping of the American South in these terms opens new and essential territories for work in architecture – more positive, empowering, engaged, sensitive and aware work altogether. 

The “story” of A SOUTH FORTY is also one of place-based design, attentive to the necessities of climate, materials, labor, and purpose, but also attentive to overlooked or undervalued typologies, constituencies, and locales. While there is the surge of new urban centers and suburban peripheries as conditions to address in the region, there also is a new appreciation for the smaller communities and rural or even wilderness landscapes as productive sites for distinctive work. As well, while design excellence has been achieved by many practices at the residential scale, the greater emphasis in the exhibition is to be seen at the public scale, in the civic realm, through the accomplishment of buildings and projects of strength, durability, and value for the communities in which they are situated. 

The exhibition implicitly proposes that the path towards that better “place” of the region leads through both recognition of a common inheritance embedded in the landscape of the American South, and a reconciliation with that physical, cultural, and phenomenal landscape. There is much work accomplished, but much still to be done, and as a project, A SOUTH FORTY is just beginning, and still becoming.

The mapping of A SOUTH FORTY geographically is organized along the armature of US Highway 40, running west from the North Carolina Atlantic seacoast through the southeastern states to an inflection point in Oklahoma. Approximately forty participating practices in the exhibition are drawn from the larger southeastern region along this latitude: 

Alterstudio ArchitecturearchimaniaARCHITECTUREFIRMAtelier MeyBrooks + Scarpa
Chambless King ArchitectsDake Wells Architecturede leon & primmer architecture workshopDEMX ArchitectureDuvall Decker
Ecological Design GroupEl Dorado / KSU Design + Make Studioemerymcclure architectureEskewDumezRippleEvoke Studio Architecture
Frank Harmon ArchitectFultz & Singh ArchitectsHelix Architecture + DesignHobgood ArchitectsRay Huff Architect
Hufftin situ studioJENNINGS + SANTA-RITA ARCHITECTSKatherine Hogan ArchitectsMarlon Blackwell Architects
modus studioOffice of Jonathan Tatepatterhn ivesPendulum StudioPolk Stanley Wilcox
Rural Studio, Auburn UniversitySanders Pace ArchitectureSILO AR+DSomewhere StudioSTUDIO A Architecture
Tall ArchitectsThe Raleigh Architecture Companyunabridged ArchitectureUniversity of Arkansas Community Design CenterUniversity of Arkansas Urban Design Build Studio
University of Florida Design/BuildVines ArchitectureVMDOW.G. Clark Architect

Curated by: Peter MacKeith, Dean and Professor, Fay Jones School of Architecture + Design Designed by: Jonathan Boelkins, Exhibition Designer and Assistant Professor 

About the Fay Jones School of Architecture + Design: The Fay Jones School of Architecture and Design at the University of Arkansas houses professional design programs of architecture, landscape architecture and interior design together with liberal studies programs. All of these programs combine studio design education with innovative teaching in history, theory, technology and urban design. A broad range of course offerings equips graduates with the knowledge and critical agility required to meet the challenges of designing for a changing world. Their training prepares students with critical frameworks for design thinking that also equip them to assume leadership roles in the profession and in their communities. The DesignIntelligence 2019 School Rankings Survey listed the school among the most hired from architecture, landscape architecture and interior design schools, ranking 10th, 14th and eighth, respectively, as well as 28th among most admired architecture schools. 

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Visible Vault: Open Collections Storage https://nbm.org/exhibitions/visible-vault-open-collections-storage/?utm_source=rss&utm_medium=rss&utm_campaign=visible-vault-open-collections-storage Mon, 02 Dec 2024 19:04:58 +0000 https://nbm.org/?post_type=bbwp_exhibitions&p=6560 Visible Vault: Open Collections Storage showcases a broad range of artifacts from the Museum's permanent collection, highlighting America's architectural and design heritage.

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Visible Vault: Open Collections Storage

Ongoing

Visible Vault: Open Collections Storage showcases a broad range of artifacts from the Museum's permanent collection, highlighting America's architectural and design heritage.

Caption: Visible Vault: Open Collections Storage at the National Building Museum. Photographed by Stephen A. Miller, StudioM13.
Caption: Visible Vault: Open Collections Storage at the National Building Museum. Photographed by Stephen A. Miller, StudioM13.

The exhibition provides visitors with a unique opportunity to engage with significant historical objects that were previously unavailable to the public due to their size, scope, and material. This exhibition is a testament to the Museum’s commitment to preserving and sharing the fascinating narratives of the world we design and build.

The exhibition showcases architectural models, maquettes, and tools from renowned architects and their prominent sites, including I.M. Pei, César Pelli, and Frank Gehry. Additionally, there are sections dedicated to the Museum's historic building, the Pension Building, the work of the celebrated artist Raymond Kaskey, and the Museum’s extensive Architectural Toy Collection. 

The exhibition emphasizes the importance of highlighting underrepresented voices in architecture and design. To achieve this, it utilizes digital platforms such as Esri Storymap to provide historical context and enrich the viewer's experience. By leveraging these tools, the exhibition aims to make its collection more accessible and engaging for a broader audience.

This Exhibition was made possible with support from the Institute of Museum and Library Services, DC Commission on the Arts and Humanities, Formica Corporation, Ken and Ginny Grunley Family Trust, Beverly A. Willis Estate, Richard Hampton Jenrette Foundation, Armstrong Flooring™, a brand of AHF Products, Esri, ShawContract®, CENTRAL BUILDING & PRESERVATION L.P. and Lilly Endowment Inc.

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Documenting Crossroads: Survival and Remembrance Under the Pandemic https://nbm.org/exhibitions/documenting-crossroads-survival-and-remembrance-under-the-pandemic/?utm_source=rss&utm_medium=rss&utm_campaign=documenting-crossroads-survival-and-remembrance-under-the-pandemic Mon, 19 Aug 2024 21:21:04 +0000 https://nbm.org/?post_type=bbwp_exhibitions&p=3741 The third installment of Camilo José Vergara's ongoing documentation of how Covid-19 has affected poor and segregated urban neighborhoods, several months into the 2020 pandemic.

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Documenting Crossroads: Survival and Remembrance Under the Pandemic

By Camilo José Vergara with Elihu Rubin

Introduction

We are afraid. What can we do about it?

Part three of the Documenting Crossroads series deals with the effects of the Covid-19 pandemic in the five months since June 16, when the second installment of this series, The New Normal, was published. Similarly, this presentation for the National Building Museum was produced in collaboration with consulting curator Chrysanthe Broikos and Elihu Rubin, associate professor of urbanism at Yale University.

I have continued documenting developments at crossroads in New York City and Newark, New Jersey. Based on the strength of the documentation, I have focused on four categories: Street VendorsSomething to EatDepicting the Power of the Virus; and Picturing the Lost. For a more complete view, I have added segregated commercial streets such as Fordham Road in the Bronx, Springfield Avenue in Newark, New Jersey, and Myrtle Avenue in Brooklyn. I would like to have included the crucial topic of schools, but it was possible to photograph only building exteriors.

In our earlier presentations, we were able to identify visible effects that living with the virus were manifesting in the urban fabric and to explore themes over time. Since then, urban life continues, schools open and close, and restaurants and bars have built outdoor seating areas. Unfortunately, these precautions have not sufficiently slowed the virus. People seeking employment need proof that they are Covid-free, those planning to travel for the holidays want to make sure they will not infect their families; this results in long queues at test sites. Traveling has become more difficult as subway lines temporarily close and trains are delayed. At the end of May, since George Floyd was murdered, the pandemic and the struggle against racism have evolved together, making it harder to concentrate on the virus. Labor Day, Election Day, Halloween, and a subdued Thanksgiving have passed, creating the anticipation of normalcy. But with a resurgence, the fear of spreading the virus has increased, leaving people confused, afraid, suffering, and depressed.

As this holiday season began, store windows filled with bright Christmas trees as well as masks for sale, and signs reminding shoppers to socially distance. These unprecedented juxtapositions attest to the continuing presence of both a deadly virus and the normal desire to gather and celebrate.

And for the spring, we have the promise of at least two effective vaccines.

Our gratitude goes to the National Building Museum for giving us the chance to begin this ambitious project as an online exhibition, and to the Library of Congress for further supporting us by placing the documentation on its website.

Camilo José Vergara
November 29, 2020

1: Street Vendors: Peddling for Survival
2: Something to Eat: Neighbors Helping Neighbors
3: Depicting the Power of the Virus
4: Picturing the Lost / Overheard and Observed

About the Authors

Camilo José Vergara is one of the nation’s foremost urban documentarians. He was awarded the 2012 National Humanities Medal and was named a MacArthur Fellow in 2002.

Elihu Rubin is Associate Professor of Architecture, Urbanism, and American Studies at Yale University.

This exhibition was produced with assistance from Chrysanthe Broikos, consulting curator.

This exhibition has four parts, each with a dedicated page and image gallery. All pages link to every other exhibition page. The final section also includes “Overheard and Observed,” in which Vergara documents a portion of what he has experienced over the past several months.

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Documenting Crossroads: THE NEW NORMAL https://nbm.org/exhibitions/documenting-crossroads-the-new-normal/?utm_source=rss&utm_medium=rss&utm_campaign=documenting-crossroads-the-new-normal Mon, 19 Aug 2024 17:52:55 +0000 https://nbm.org/?post_type=bbwp_exhibitions&p=3733 Camilo José Vergara's ongoing documentation of how the pandemic is affecting people in poor, segregated neighborhoods, from space changes for economic survival to behavioral changes to avoid illness.

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Documenting Crossroads: THE NEW NORMAL

By Camilo José Vergara with Elihu Rubin

This exhibition, a companion piece to my earlier series of photographs, Documenting Crossroads: The Coronavirus in Poor, Minority Communities and created with Professor Elihu Rubin of the Yale University School of Architecture, documents and interprets physical adaptations and behavior modifications that people in poor, segregated neighborhoods are resorting to in order to avoid being infected and to ensure economic survival during the pandemic. Our aim is to produce a visual portrait of residents as they deal with the virus on a daily basis. Density and diversity render these spots prime locations for observing a host of behaviors, from shopping habits and fashion trends to familial interactions and health practices.

I use the word “crossroad” for a group of street intersections in several of these communities. (See the complete list of crossroads in the previous exhibition, published in June 2020. The series continues with Documenting Crossroads: Survival and Remembrance Under the Pandemic, published in December 2020.) During the past 11 weeks I have traveled from crossroad to crossroad in order to document the pandemic in some of the most severely affected urban areas, most of them in New York City. These intersections are social condensers and amplifiers, yet they are barely mentioned in media depictions of the virus and its impact, despite the fact that the number of fatalities from Covid-19 are 10 times the national average.

These crossroads are teeming with people: street vendors, evangelists, shoppers, security guards, school children, police, people on their way to work, going home, or waiting in line. There are those who come to observe the crowd, and to be observed. These hubs reveal the precautions that residents are, or are not, taking to avoid being infected by and spreading the coronavirus.

We also show ways in which gratitude to essential workers is expressed and how the dead, most of whom died in isolation, are remembered. Finally, we use time sequences accelerated to capture the rapid changes caused by the pandemic. These sequences typically begin with an image of what the places looked like at the beginning of the breakout.

I have felt compelled to visit each of these intersections once a week. Part of the project has also been to record snippets of overheard conversations along with my personal observations. In all my decades as a photographer, I had never before experienced such intense interactions with strangers who, like myself, are on guard, afraid, and confused. (The observations related to this exhibition may be found below the exhibition images, further down this page.)

While photographing, I look out for people who are not wearing a mask and who seem to be moving randomly. I move away when people get too close or are loud. A few times I got off a crowded bus or subway out of fear of becoming infected. Sometimes people have felt insulted by my distancing. For example, a man on a Harlem bus shouted at me: “You think you are better than me, cabrón?”

The primary topics of this series: Then and Now; New Street Ballet; Carving Out Space; Irrepressible Style; In Transit; Essential Workers; Homelessness; Letting Go; Boarded Up; Jesus Is Coming Soon; Murals and Memory.

Our gratitude goes to the National Building Museum for giving us the chance to begin this ambitious project as an online exhibition, and to the Library of Congress for further supporting us by placing the documentation on its website.

Camilo José Vergara
June 16, 2020

The New Normal

The first attempts to visualize the impacts of Covid-19 on urban space were pictures of the “Great Empty.” With the economy on “pause” and “lockdown” orders in place, public life came to an abrupt halt. This was especially evident in iconic public spaces like Times Square in New York, Place de la Concorde in Paris, and the Piazza San Marco in Venice, but the inactivity was palpable on Main Streets across the country. These were the Coronavirus “ghost towns”—everything in place, nobody there—that became emblematic representations of the Great Quarantine of spring 2020. On the one hand, these empty spaces represented real economic pain: More than 20 million Americans lost their jobs. Acres of idling office buildings seemed like great folly or transitory mirage, useless and unreal. To quote Marshall Berman quoting Karl Marx: All that is solid melts into air.1

Images of desolation were also misleading, and Covid Ghost Towns obscured as much as they revealed. The cities were not actually empty. Tens of thousands of essential workers continued to navigate urban space so that the rest of us could shelter in place. Hospitals and care facilities were overcome with sick people. Even if the virus had been introduced by affluent travelers, it quickly became clear that its impacts were disproportionately endured by the most vulnerable members of our society. Coronavirus was writing another chapter in a long and painful history of racial inequality, exposing and reproducing social faultlines. Yet Ghost Town images evacuated the scene, replacing vastly uneven and difficult circumstances on the ground with something that could even be perceived as “romantic, in a post-apocalyptic way.”2

Eventually, more-nuanced and challenging representations of Coronavirus complicated the facile image of a ghost town. These included first-person accounts from nurses, doctors, and careworkers, and searing images from inside overwhelmed hospitals. Pictures of refrigerated trailers served as grim markers of the growing death toll. All the while, another photographic project was under way to record the perseverance of everyday life, even in the heart of urban areas hit hardest by the pandemic. These dispatches have come from another essential worker, Camilo José Vergara, part of his decades-long commitment to witness urban change and to document the social life of everyday streetscapes in poor, inner-city neighborhoods. In this way, these photographs offer a crucial and missing perspective on Covid-19: the patterns and processes of adaptation and resilience as city dwellers adjusted to a “New Normal.” We join Camilo as he makes his rounds to the “Crossroads,” a set of urban nodes in the New York metropolitan area—including Newark and East Orange, New Jersey—that he has identified as moments of civic intensity, irrepressible places that manifest trends and anchor public life.

Fulton St. at Nostrand Ave., Brooklyn, June 16, 2020.

The anthropologist Edward T. Hall called it “proxemics”: the study of physical distancing and the invisible yet intuitive boundaries between intimate, personal, social, and public space.3 How close was too close? Different social norms prevailed in different places, but humans usually figured out a way to space themselves out to address crowding and adapt to unusual situations. How would “social distancing” rules and face mask requirements play out at the Crossroads?

The city has always been a center of commerce, and this is especially true at the Crossroads. Many establishments were closed; but for those that were open—groceries, markets, pharmacies, food pantries, banks, testing centers, and urgent-care facilities—the “New Normal” meant waiting in line. Handmade signs attempted to communicate social distancing and implored shoppers to wear masks. Markings appeared on the sidewalk to regulate the queues. In some cases, enforcers were deployed in full-body plastic suits and with red “Stop” signs; they worked valiantly to maintain order. Temporary tents were erected at testing centers like the one in Elmhurst, Queens, where enforcers ran a tight ship and broadcasted confidence that the zone was under control and that chaos would not be tolerated.

Some sidewalks were more generous than others, and no two queues were exactly the same, but on busy streetscapes it was impossible for people to keep themselves 6 feet apart at all times. Public life adjusted to this new urban ballet of social coordination, and each of Camilo’s photographs portrays an example of what sociologist Erving Goffman might have called “microstudies of the public order.”4 A folding table was all that was required to turn a conventional store inside-out; services usually conducted indoors took up positions in the public realm. Even the most modest apertures and eddies in the flow of the street had an important role to play in making these accommodations. A building’s chamfered corner made a plaza. The area in front of a closed kiosk carved out space for a small commercial outpost. Donning their products—a mask, face shield, gloves, and white polyurethane gown—proprietors quickly gained credibility. Sanitizing agents and personal protective equipment were in high demand and masks became another outlet for self-expression.

While architects and planners speculated on what Covid-19 might mean for the future of urban design, a sequence of photographs in front of the Post Office at 103rd Street and Roosevelt Avenue in Queens demonstrated a transitory, adaptive urbanism that was already taking place. Fruit stands and food trucks came and went as an informal PPE market—just a few open boxes at first—took root beneath a fortified tent. It was difficult to design for this kind of ad hoc urbanism; but one lesson was to reinvest in local infrastructure like this modest plaza to make it even more robust as a facilitator for the kind of spatial improvisation that is the art of city-dwelling.

With fewer people on the streets, those without homes became more conspicuous. This was true on the New York subway, which began closing between 1:00 am and 5:00 am for disinfecting. Transit workers were at high risk for exposure, and many became ill. Soon the buses were roped off to give drivers plenty of space. Though daily ridership plummeted, the indispensable role of mass transportation was never more evident as essential workers, including those on the frontlines, continued to rely on the MTA. New Yorkers had taken to emerging from lockdown every evening at 7:00 pm to cheer for essential workers, including subway drivers like the ones captured in Camilo’s portraits; but a message scrawled on a platform offered a biting critique: “Don’t Clap. Pay More.”

Camilo has always paid attention to the ordinary signage, graffiti, and street art that play such important roles in the visual environment of the city. Marquees relayed messages of hope and fortitude. A hand-painted window mural at the Kennedy Fried Chicken on Willis Avenue in the Bronx expressed gratitude to nurses and firefighters and pledged unity: “We are all in this together.” And we expressed gratitude to optimists like Ronald, a building contractor in Bedford-Stuyvesant, who reassured us that everything was going to be OK: “There is nothing to be afraid of.” Among the brutal indignities of the pandemic have been the wholly insufficient opportunities to mourn the dead; memorial banners appeared as we began the long process of confronting the terrible human toll of this crisis.

As Memorial Day approached and cities and states initiated the first stages of reopening, a palpable hopefulness emerged that public life, commercial life, and employment would pick up: the New Normal was beginning to hit its stride. Demand surged for bicycles, and small bands of teenagers took to the streets in a gleeful, collective occupation, performing mobility and wanting to be seen. Adults were not exempt, as motorcycle clubs and classic cars went on parade. But soon another street presence came to dominate the public realm. The murder of George Floyd by police in Minneapolis brought the walls crashing down as hundreds of thousands of demonstrators in cities across the U.S. and around the world took to the streets to protest police brutality and systemic racism. Another kind of adaptive architecture emerged: chipboard and plywood barriers appended to plate-glass storefronts to deflect justifiably rageful protestors who were tempted to cause damage.

The pandemic took a back seat to the fight for justice, and yet the two events were related: Both exposed systemic inequalities and emphasized the importance of the public realm as civic infrastructure. It was painfully clear that a second pandemic—as silent and vicious as Covid-19 itself—suffused the metropolitan environment: institutionalized racism and residential segregation, vile afflictions that also created the conditions for disparate health outcomes. For those observing from relative comfort, the key was to resist knee-jerk anti-urbanism that was another expression of racist ideology. Despite pervasive uncertainty, there is hope that these events will galvanize substantive change in the policies, practices, and beliefs that govern our diverse society; indeed, we all must do the work to make it so. And when change does come, we will see it evolve at the Crossroads, reflected in the lens of Camilo’s camera.

Elihu Rubin
June 18, 2020

________________________________________

   1 Marshall Berman, All That Is Solid Melts Into Air: The Experience of Modernity (New York: Viking Penguin, 1988).
   2 Victoria Bekiempis, “’A Ghost-Town, Tumbleweed Quality’: New York Shuts Down Over Coronavirus,” The Guardian, March 18, 2020. https://www.theguardian.com/world/2020/mar/18/new-york-coronavirus-streets, accessed June 7, 2020.
   3 Edward T. Hall, “Proxemics,” Current Anthropology, Vol. 9, No. 2/3 (Apr.–Jun., 1968): 83-108.
   4 Erving Goffman, Relations in Public: Microstudies of the Public Order (New York: Harper & Row, 1971).

Observations and Comments Overheard at a Distance of 6 Feet

Camilo José Vergara

At Sylvia’s, a landmark Harlem restaurant, I stopped and ordered fried chicken and macaroni and cheese. That was a mistake, because the place was crowded, the space facing the counter was narrow, and the service slow. Waiting there for my food could have gotten me infected. I decided to wait outside, where a panhandler without a mask approached me. I tried to avoid him, whereupon he pointed at me as if I were a hostile person unworthy to walk the streets of Harlem. After going inside a couple of times to get my order but finding that it was not ready, I considered leaving and not picking up the food I had already paid for. Half an hour later I left with my order. That night I thought I had the virus.

Se murió la mama por ir a comprar una libra de azúcar.” (“Mother died because she went to buy a pound of sugar.”) Man talking on a cellphone, Southern Boulevard, Bronx, April 12.

In Penn Station, a policeman asked an elderly black man in a wheelchair: “The question is, what are you going to do in this place?” To which the man answered: “I am OK, I got Medicare and Medicaid.” The policemen responded, “Ready,” and wheeled him out of the main AMTRAK waiting room. New York, April 16.

On April 17, a young West Indian man danced on Fulton Street in Bedford Stuyvesant. A woman, thinking him crazy, encouraged me to photograph him. A man told her that he was a good dancer. I found his performance excellent, as if he was dancing to placate the coronavirus.

On April 27, I saw an elderly Latino man on Southern Boulevard in the Bronx struggling to breathe. He was hugging a lamppost while a woman held his arm. “Let’s help him, he’s dizzy. Let him sit, he can’t breathe,” she said. People placed a plastic garbage can upside down for him to sit on, but he didn’t want to. “The ambulance is coming,” someone said. Seeing me taking pictures of this situation, a young man, holding a package of rubber gloves, asked, “What are you going to do with the information?”

On April 28, an old Chinese woman trying to cross Broadway in Brooklyn asked me for help. She was not wearing a mask, and she wanted for me to hold her bare hand. Afraid of getting coronavirus, I tried to help her by holding her arm. She didn’t like this and insisted I hold her hand. I left her struggling. A minute later I saw a young woman helping her. She gave me an accusing look.

“Open up the showers, open up the gym with the showers. The homeless, we don’t have outside or inside, we are in it. You don’t give second chances to people who need second chances. Free showers. We need free, free working, free, free, free showers.” Homeless man, 149th Street at Grand Concourse, April 30.

On May 11, I visited the Free Food distribution site at the Corona Seventh Day Adventist Church, 35-30 103rd St., Queens. On that day, Mary and Edna were distributing food bags to people who showed a form (el papelito). Mary asked the people waiting in line to please come to the front if they were older than 75. Some of them didn’t have the form and were told to return with it on early on Monday—or, if they were in a rush, to go to the Catholic church around the corner on Wednesday. The bags of food being distributed included a chicken, meat, fruit, cabbage, carrots, onions, frozen blueberries, cereal, popcorn, and milk donated and delivered by the food bank. Mary told me that a family of three gets enough food to last them for three days.

I photographed Leila, a contract worker wearing inferior PPE, disinfecting the L Train at the 8th Avenue station. She proudly told me: “We are disinfecting the trains for the first time in history.” May 12.

One woman telling another on the #60 bus: “Hay que acostumbrarse a corona por ahora. Va a ser un invierno bien malo. Hay una novela amores de primavera, que linda, que romantica, los protagonistas no se pelean, que linda.” (“We have to get used to corona for now. This winter is going to be very bad. There is a novel spring loves, it is so beautiful, so romantic, the main characters don’t fight.” Harlem, May 14.

Surprised to find several beauty shops open, I asked about it to a woman waiting in line outside Feel Beauty on Southern Boulevard in the Bronx. She explained that she was waiting to buy toothpaste, shampoo, soap, and hair straightener. A sign on the door read: “We are selling essential products ONLY. No wigs, cosmetics, or jewelry.” May 15.

On the 2 Train in the Bronx, a young man with a cardboard box full of M&M’s candy made a loud sales pitch in front of me, forcing me to move to the opposite end of the car. The man came over to me, screaming, “Corona!” Nobody bought his candy. May 16.

The corona virus cough that stays in my memory is that of an old man sitting alone in a corner seat of a subway car in the Bronx. Hunched over, he was wearing a baseball hat with an American flag motif and was coughing nonstop. Bronx, May 20.

“I salute you, Black man. I salute you.” Man passing through Broadway Junction, Brooklyn, May 21.

May 24, in Corona, Queens, I saw a banner that said, “Naming the Lost,” and then, in Spanish, “Nombrando a los Fallecidos.” That same day, the New York Times printed on its front page a thousand names of people who died from the virus.

On May 26, on the median strip of East 149th Street in the Bronx Hub, Maria, holding a shiny white-and-red megaphone, was preaching to passersby, to street vendors, to people waiting for the bus, to those lined up for coffee at the reopened Starbucks. When I asked her if she was affiliated with a church, she mentioned “the green church” on Prospect Avenue. I had been waiting to meet the New York version of Savonarola, but so far had encountered only old-fashioned street evangelists. I expected her to mention Hell, the Devil, and the virus that had killed so many people in this neighborhood. She explained that she was evangelizing because “the Lord is the only one that saves.” She told me that she had been a sinner, “used to rob people, to break into houses.” I asked her if God cures people infected with corona. Maria didn’t answer. She seemed afraid, covering her nose and mouth with her mask, and left. Perhaps she was afraid I had corona.

On June 6, Maria was preaching again on East 149th Street. She told the people waiting in line: “One day Christ entered my life to make me laugh. One day Christ entered my life to make me happy.”

And on June 15, Maria was preaching again on East 149th. “The enemy came to kill and destroy. Thank God we are still breathing,” she said.

On May 26, I saw a sign at Brooklyn’s Rhema Pentecostal Church stating, “The Church has been Deployed.” I first took this statement as boasting, but later realized that among the minimum-wage contract workers disinfecting the subway at the New Lots Station, there might be Rhema church members.

I photographed Ronald, a 67-year-old building contractor, born in Bedford-Stuyvesant, as he was taking a break from work; his head came up to my knees as he stood in the basement of a row house. When I asked him about the pandemic, he replied, “There is nothing to be afraid of,” saying that he believed that things “are better now because of the governor.”

About the Authors

Camilo José Vergara is one of the nation’s foremost urban documentarians. He was awarded the 2012 National Humanities Medal and was named a MacArthur Fellow in 2002.

Elihu Rubin is Associate Professor of Architecture, Urbanism, and American Studies at Yale University.

This exhibition was produced with assistance from Chrysanthe Broikos, consulting curator.

MEDIA COVERAGE
The Washington Post  |  The Architect’s Newspaper  |  World Architects  |  Wallpaper

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Documenting Crossroads: The Coronavirus in Poor, Minority Communities https://nbm.org/exhibitions/documenting-crossroads-the-coronavirus-in-poor-minority-communities/?utm_source=rss&utm_medium=rss&utm_campaign=documenting-crossroads-the-coronavirus-in-poor-minority-communities Tue, 13 Aug 2024 18:42:50 +0000 https://nbm.org/?post_type=bbwp_exhibitions&p=2175 Camilo José Vergara's firsthand account of public space in the time of coronavirus, as seen in poor, segregated communities—those most likely to be affected by the disease.

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Documenting Crossroads: The Coronavirus in Poor, Minority Communities

By Camilo José Vergara with Chrysanthe Broikos

Over the past four weeks (March 8-April 4, 2020), I have been documenting the evolution of poor, segregated communities—in Oakland and Richmond, CA; Newark, NJ; Harlem, Brooklyn, Queens, and the Bronx, NY—as they are being affected by the coronavirus. I visited the Bay Area during the second week of March and photographed the West Wind Coliseum Public Market in Oakland, as well as the memorial service for a biker nicknamed Spiderman in Richmond.

But I’ve spent the bulk of my time returning to the busy metropolitan New York City crossroads and transportation centers that I have been documenting for more than a decade:

  • East 125th Street at Lexington Avenue, one of Manhattan’s—and Harlem’s—most diverse and energetic intersections.
  • The Hub, a crowded, segregated, and ethnically varied shopping district on East 149th Street and Third Avenue in the Bronx.
  • Southern Boulevard and Westchester Avenue, the heart of a Latino neighborhood in the Bronx known for its vibrant urban forms, folk art, and fashion.
  • Nostrand Avenue and Fulton Street, the cultural center of Brooklyn’s African American and West Indian population.
  • Broadway Junction, a busy Brooklyn transfer point for six connected subway lines and buses that line up along Van Sinderen Avenue.
  • Roosevelt Avenue from 103rd Street to 74th Street, a 30-block stretch of shops in a segregated section of Queens.
  • Newark’s Four Corners, the city’s unofficial town square located just two blocks west of Newark’s Penn Station.

These crossroads are social condensers and amplifiers, yet they are barely mentioned in media depictions of the virus and its impact. They are teeming with people: street vendors, evangelists, shoppers, security guards, school children, people on their way to work or going home, those who come to observe the crowd, and to be observed—as well as the police. Density and diversity render these spots prime locations for observing a host of interactions and behaviors, from shopping habits and fashion trends to familial interactions and health practices. In short, these hubs reveal the precautions residents of these segregated communities are, or are not, taking to avoid being infected by, and spreading, the coronavirus. (This theme is explored in the companion exhibitions Documenting Crossroads: The New Normal, published in late June 2020, and Documenting Crossroads: Survival and Remembrance Under the Pandemic, published in early December 2020.)

I travel by foot, subway, bus, train, and while in California, by rental car. The most important change I have observed is the growing self-distancing of people from each other on the streets, inside stores and offices, and on subways and buses. Crowds are getting thinner. Protective devices such as masks and gloves are altering the way people dress. Most businesses are shuttered, often displaying hastily written signs explaining to customers that they are temporarily closed. At Ali’s Trinidad Roti Shop on Fulton Street in Brooklyn, now closed, I overheard the cashier firmly telling a customer, “You can’t come in, only five people can come in, otherwise I get a ticket.”

Until just recently, income tax preparers, barber shops, tattoo parlors, botanicas, and pawn shops were open for business. Today, liquor stores, check cashers, gas stations, laundromats, medical offices, and florists are still. Joseph, who was planting flowers at Roberto Clemente Plaza in the Bronx, told me, “The governor made us essential workers.” I saw a sign at St. Luke’s Catholic Church in the Bronx that read “Practicas del Via Crucis,” asking parishioners to attend tryouts for Good Friday services on April 10.

I’ve overheard touching sentiments on my rounds. In Times Square, a man on his cellphone pleaded, “Stay safe somehow, all right, baby?” In the Bronx, one man told another, “I got paid today. My buddy just got laid off.” And in Jackson Heights, on Roosevelt Avenue, a woman on the phone was clearly trying to convey what she felt were her more important worries to a loved one: “Alla en El Salvador le van a dar un balazo [There in El Salvador, he is going to get shot].”

I’ve watched people entering Lincoln Hospital in the Bronx reach for the door with disposable gloves on, winter gloves, with their sleeve, or just a tissue to avoid touching the door with their bare hands. We are all starting to notice, or perhaps just say things, we never did before. A woman on the subway told me that my nose was running and asked me to wipe it. As a passenger boarded a shuttle bus to Harlem, a young man exclaimed, “You f***ing stink and you get on the bus. Take a shower, there are lot of places where you can take a shower. Oh my god, you smell.”

“Stay home” or “shelter in place” rings hollow for large numbers of New Yorkers, especially those who make their living on the streets. Some panhandlers, for example, are becoming more aggressive. They are getting closer to people and more insistent. In Times Square, a man said, “Why are you looking at me like that? Why are you looking at me like that, nigger? I saw you looking at me.” I quickly left.

In Manhattan’s 96th Street Station, a seemingly insane homeless woman hollered and then laughed, while two policemen watched. She eventually got on a train with two large bags and left. One week ago, at Broadway Junction Station in Brooklyn, a man at the top of an escalator was screaming, “I am not moving for f***ing nobody.” Five police officers intervened, gently asking, “What do you need help with?” He responded by calling them “nigger clowns,” then walked away and boarded the subway to Manhattan.

Based on my experience, police seem reluctant to directly intervene in situations such as these. Rather than pursue a possible arrest, they are more inclined to move an individual along. Officers are not acting alone when approaching people, but are standing close to each other in groups of two or more, as if the contagion were only being spread by civilians, not from their fellow officers.

On Willis Avenue in the Bronx, I hear one man tell another, “This is a serious time. The tourists are gone, the restaurants are closed, the bodegas are open until 8:00 pm, and this guy is president. The violence is coming.” Similarly, on Fulton Street in Brooklyn, an elderly man tells me, “The virus is spreading, and the attitude is growing.”

On my way home one afternoon, I noticed the subway stations screens flashing the words “Solidarity, Respect, Kindness” and a 2020 census advertisement telling us that “We all get to shape our future.” A subway musician reassures riders, “Don’t worry, like all storms, this will blow over.” As spring deepens, the virus is becoming more deadly—especially in the neighborhoods where New York’s already most vulnerable populations live.

About Camilo Jose Vergara

Documenting Crossroads: The Coronavirus in Poor, Minority Communities marks the National Building Museum’s seventh collaboration with Camilo José Vergara. Curator Chrysanthe Broikos and Vergara have worked together previously, most recently organizing Commemorating 9/11: Photographs by Camilo José Vergara, part of a continuing partnership focused on his images of the World Trade Center.

One of the nation’s foremost urban documentarians, Vergara is a recipient of the 2012 National Humanities Medal (awarded by President Barack Obama) and was named a MacArthur Fellow in 2002.

Drawn to America’s inner cities, Vergara began recording New York City’s urban landscape in 1970, the year he settled there. Since 1977, he has systematically photographed some of the country’s most impoverished neighborhoods, repeatedly returning to locations in New York, Newark, Camden, Detroit, Gary, Chicago, and Los Angeles.

Vergara lectures widely and is the author of numerous books and essays. His photographs have been the focus of nearly a dozen exhibitions and have been acquired by institutions nationwide. The Library of Congress will be the permanent home of his photographic archive.

Born in Santiago, Chile, Vergara earned degrees in sociology from the University of Notre Dame (B.A., 1968) and Columbia University (M.A., 1977).

SELECT EXHIBITIONS

Detroit Is No Dry Bones: Photographs by Camilo José Vergara / September 30, 2012–March 17, 2013

Storefront Churches: Photographs by Camilo José Vergara / June 20–November 29, 2009

Twin Towers Remembered: Photographs by Camilo José Vergara / November 10, 2001–March 10, 2002

El Nuevo Mundo: The Landscape of Latino Los Angeles / December 3, 1998–March 28, 1999

The New American Ghetto: Photographs by Camilo José Vergara / January 26, 1996–May 5, 1996

CURATOR ESSAYS

2012: Looking Back, Looking Forward: Notes on Detroit, Deborah Moore Sorensen

2009: Urban Portraiture: The Persona of Place in the Work of Camilo José Vergara, Chrysanthe Broikos

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Murals That Matter: Activism Through Public Art https://nbm.org/exhibitions/murals-that-matter-activism-through-public-art/?utm_source=rss&utm_medium=rss&utm_campaign=murals-that-matter-activism-through-public-art Fri, 14 Jun 2024 02:13:58 +0000 https://nbm.org/?post_type=bbwp_exhibitions&p=1966 Murals That Matter: Activism Through Public Art August 28, 2020 – December 31, 2020 The National Building Museum, in partnership with the P.A.I.N.T.S. Institute and the DowntownDC Business Improvement District (BID), is pleased to…

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Murals That Matter: Activism Through Public Art

August 28, 2020 – December 31, 2020

The National Building Museum, in partnership with the P.A.I.N.T.S. Institute and the DowntownDC Business Improvement District (BID), is pleased to present Murals That Matter: Activism Through Public Art. Located on the Museum’s West Lawn (5th Street NW, between F and G streets), the exhibition features D.C. street art created earlier this summer in response to social justice protests in the nation’s capital and elsewhere. The murals speak to the impact that art can have on the built environment as well as the nation’s urgent need for dialogue and reflection.

Participating Artists
Artist Interviews
Panel Discussion (Video)
Jigsaw Puzzles

To coincide with 2020 March on Washington events, Murals That Matter opened on August 28, 2020. The exhibition comprises both existing and newly created artwork that will be on display through late November.

Gallery Place Murals

In June 2020, amid an unprecedented global pandemic, protesters took to the streets of Washington, D.C., in response to the murder of George Floyd—and Breonna Taylor, and Ahmaud Arbery, and so many others who came before. To capture the historic moment, the DowntownDC BID worked with the P.A.I.N.T.S. Institute to commission dozens of murals for boarded-up storefronts. (The organization’s acronym stands for “Providing Artists with Inspiration in Non-Traditional Settings.”) The public experience of these plywood barriers, now reframed through vibrant art, shifted from “stay away” to “come look.” The Gallery Place neighborhood was transformed with artworks that expressed love, unity, and hope; that spoke to racial injustice and societal inequities; and that proclaimed support for the Black Lives Matter movement. Murals That Matter displays 18 of those murals.

Play Video

The Big Six

In a celebration of the life and legacy of the late Rep. John Lewis, a towering figure of the Civil Rights movement, six artists have created murals commemorating the members of the “Big Six” who organized the original March on Washington in 1963: John Lewis, Chairman, Student Non-Violence Coordinating Committee; Whitney Young, National Director, Urban League; A. Philip Randolph, President, Negro American Labor Council; Martin Luther King Jr., President, Southern Christian Leadership Conference; James Farmer, Director, Congress of Racial Equality; Roy Wilkins, Executive Secretary, National Association for the Advancement of Colored People. These murals, painted live on August 28 and 29, are now part of the exhibition.

Exhibition Coverage

WJLA  •  WUSA  •  Architect Magazine  •  VisitBlackHistory.com  •  The Architect’s Newspaper  •  Lailah’s Learning Corner

Top photo: Gallery Place Mural in progress. Image courtesy DowntownDC BID.

Murals That Matter Gallery

Partners

Sponsors

Murals That Matter: Activism Through Public Art is made possible with support from HumanitiesDC and the National Endowment for the Humanities as part of the 2020 Coronavirus Aid, Relief and Economic Security (CARES) Act of 2020. Any views, findings, conclusions, or recommendations expressed in this exhibition do not necessarily represent those of the National Endowment for the Humanities.

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