b'FIGURE \x04 Roger Brown (19411997), Talk Show Addicts, 1993. Aquatint and engraving on ivory wove paper. 17x 27in. (image); 22x 29in. (sheet). Published by Andrew Balkin Editions for the portfolio AGB 1+10. The Art Institute of Chicago. Gift of the Roger Brown Study Collection of the School of The Art Institute of Chicago.Copyright.Aleut Northern Madonna (fig. 41) depicts a woman holding a baby, with a child to her left and a masked figure of death peering over her shoulder. She wears a fur-trimmed hood and has tears running down her cheek. A bird, which resem-bles the one in Sitting at the Bottom of a Bird Coop . . . (fig 34), sits in the womans hand, perhaps alluding to the dream of freedom. A tag marks this as a camp work; although the Aleuts were not issued tags, the link with the Japanese incarceration is symbolic of solidarity. An inscription scratched into the tag reads: 9967 Ma / 9968 me / 9969 STILL BIRTH / they looked / like us / Aleut / Northern / Madonna. The story of the Aleutian evacuation was even less known and understood than that of Japanese and Japanese Americans, due to the smaller numbers, remote location, and habitual disregard of the rights of Indigenous people. Makuuchis inclusion of this scene is consistent with his emerging consciousness of the interconnectedness of marginalized communities and the need to forge a new way of relating. In August 1988, US President Ronald Reagan signed the Civil Liberties Act, which rendered an official apology to Japanese and Japanese American citizens who were incarcerated during the war, and set an amount of $20,000 per person as a restitution payment. The first checks were presented to the oldest FIGUREAleut Northern Madonna CHECKLIST #4766'