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The 1960s was a period of virtually unprecedented upheaval in American history. Beatrice Mandelman, who worked as an artist for the Works Progress Administration between 1935 and 1942 and was very leftist, was a determined protester of the Vietnam War that had precipitated a proliferation of violent images, the extent of which was unprecedented in American media. Mandelman’s series of anti-war collages were¬†anchored in a largely abstract but emotionally-wrought construct. During a period when many artists seemed to resign themselves to irony as a form of critique, she believed in the power of images, color, and art to jolt a lethargic public into action.