4 the world—not always easy, given that the work we do tends to require so much planning time. It’s an issue many museums grapple with: connecting with current events in a way that stays true to mission without placing the institution and its collection at the service of a hot topic. Following the hateful events in Charlottesville, Virginia, in August 2017, we felt it was important to create space at the museum, both literally and figuratively, for people in our community to think about the unthinkable. The result was Un/American, an exhibition that addressed questions of American identity such as who gets to decide who and what is American? We tied this in with the work of Honoré Sharrer, whose creative path and perspective were informed by the censorship and hostility she experienced in the tense political climate during the Cold War. Curated by Emma and Aprile, Un/American featured works from the collection by artists whose “Americanness” had been questioned at other moments in time. This responsive project turned out to be incredibly successful, and a powerful example of past as prologue. Coincidentally, this was all taking place at a time when we were focusing internally on questions of diversity, equity and inclusion. How do we break down barriers to participation to ensure ours is a welcoming institution for all? These important discussions have informed our thinking about everything that we do. In October 2017, with support from the Office of the ABOVE: Smith students viewing A Dangerous Woman: Subversion & Surrealism in the Art of Honoré Sharrer during the student preview event FROM THE DIRECTOR