b'. . . theres a tradition of students being actively indialogue with the institution, pushing the museum to recognizewhere there are gaps and do something about it.Smith alums traveled to New York City from all parts of the country to celebrate the gala kickoff of SCMA100, the museums centennial,on November 4, 2019I cant help but think about Joan as we faceWe are so grateful to those, like Joan, whopressing questions of identity and reflect on invest in making the museum their ownbecausethe making of our museum. It wasnt long after she the beauty of a museum is that it need not, and should graduated in the 1950s that Joan started to pursuenot, be a fixed thing. Over time, weve also seenthe idea that Smith should be teaching Asian artstudents take a lead in shepherding artworks into history to students, and to do that needed a collectionthe collection. In last years SCHEMA we shared the to teach with in the same way that the museum hadstory of our wonderful Rembrandt prints of The Three supported the study of traditional art history with itsCrosses, the earliest of those a gift from a student collection of European art. In time this idea turnedgroup in 1911; it was the museums very first print, from how could we? to how could we not? as theand the anchor for what is now an extraordinaryneed to represent the diversity of our communitycollection of prints. In the 1990s, the Black Students became increasingly clear and Asian studies grew intoAlliance initiated the purchase of a work by Emma an area of curricular strength at the college. Ive hadAmos, who passed away in 2020; it was a momentthe pleasure of knowing Joan for 15 years and whileof deepened commitment to recognizing the rich her advocacy efforts pre-date my time here, its body of work by Black artists in this country andthe making of a museumbeen amazing to see her commitment to diversifyingour need to better represent them in our collection. intellectual resources come to fruition.In the early 2000s, Korean American students at Smith 12'