MS01.01.03.B02.F23.097

to Fisk University on "indefinite loan" where is remained
during [crossed out: the tenure of] this writer's tenure. Upon my
departure from Fisk to join the faculty of art at
the University of Maryland at College Park in 1977,
Brady recalled "The Toussaint L'Ouverture Series'"
And approximately 140 or more of the 300 or so works
of art by Black American and contemporary
African artists she had "given" to Fisk at the approval
of the Foundation. She then assigned
the works she recalled from Fisk to the [crossed out: Museum]
[crossed out: Collaborative] Board for Homeland Ministries
of the United Church of Christ in New York
City to be used in [crossed out: (?)] A College Museum
Collaborative Program for the six Black
Colleges in the South under the jusridction of the
American Missionary Association, [crossed out: at the]
The idea of the American Missionary
Association, the only continuing abolitionist
organization of its kind in the nation,
administering a program for "students
of Negro origin" appealed to Brady. Her
own interest in the Native Americans of
Sitka, Alaske and the pioneering work that her
brother [crossed out: did] engaged in at the Sheldon Jackson Jr. College
[crossed out: in Sitka] there provided the picture [crossed out: she] Brady needed
to ascertain the success of the museum
Collaborative Program at the American Missionary Association.
Brady took this action after retiring from the Foundation.
[crossed out: However], But her [crossed out: association] contact with [crossed out: various] administrators
of art programs at Fisk, [crossed out: remained] Talladega
and Howard remained active even after
her retirement.
Brady's interest in art of William H. Johnson
(?) important story in the history of [crossed out: contemporary] modern