Photographs by Steve Riskind and text by Doris Friedensohn.

"Cooking for Change" reminds viewers that becoming a proficient cook is no easy business. Steve Riskind's photography and the text by Doris Friedensohn provide a window into the exhilaration and hope, and the frustrations and challenges facing students at the Food Service Training Academy of the Community FoodBank in Hillside, NJ.

"Can We Cook Up Jobs: Poverty and Workforce Training" will be the topic of a panel discussion on Wednesday, May 1, 2013 at 4:30 p.m. in Bowl 016, Robertson Hall.

"Fourth Grade Project", is a provocative and illuminating series of portraits of young children from different socio-economic and cultural backgrounds. The conceptual and photo-based artist, Judy Gelles, has traveled to schools in China, India, and the USA and asked the same three questions of nine and ten year old students: "With whom do you live? What do you wish for? And what do you worry about?"

By combining the children's portraits and text from their interviews, stereo-typing of entire cultures, or cultural sub-sets, is hard to avoid. The ways the children present themselves to the camera, and their verbal responses to the questions, are strikingly similar within each school. The viewer is asked to reflect upon cultural boundary zones and what implications they have for a broader discussion of how we live together with tolerance and understanding of those different from ourselves.

Artist reception and talk: Friday, February 22, 2013, 4 p.m.

"News/Not News", is a series of mixed media paintings and three dimensional wall pieces by the New York-based political artist, Marcia Annenberg. Her subject is our media and its declining quality over the past twenty years. She not only casts a critical eye at news corporations and how marketing needs trump truth, but she also holds the public responsible for allowing itself to be manipulated and duped by the vagaries of popular culture. Hard news is not only diminished but suppressed and with it, Annenberg insists, our democracy is in peril.

Artist reception and talk: Sunday, February 3, 2013, 3 - 5 p.m.

"The Currency of an Altered State", is part of an ongoing series in which the Montclair-based painter, Hanna von Goeler, paints on top of existing currency to raise ethical, political and aesthetic questions. These paintings fall into different categories of inquiry, including environmental concerns, social and economic disparities, immigration, politics, law and geography. Using strategies such as association, inference, humor, and similitude, an enormous range of provocative ideas and multiple meanings are conveyed through these often gem-like, miniature paintings, some of which evoke illuminated manuscripts.

Artist closing reception: December 6, 5-8 p.m.

**Please note the new change in the artist reception date due to Hurricane Sandy.

The Bernstein Gallery is pleased to present The Fertile Crescent: Gender, Art, and Society, as part of a region-wide, multi-dimensional project focusing on contemporary women artists, writers, filmmakers, composers, and performers from the Middle East and Middle East diaspora, who explore matters of gender, homeland, geopolitics, theology, the environment, and transnationalism. The project and five-site exhibition were conceived, curated, and produced by Judith K. Brodsky and Ferris Olin, co-directors of the Institute for Women and Art at Rutgers University. The full program of exhibitions and events is listed at http://www.fertile-crescent.org/

Paul Stopforth is most well known for the controversial work he produced during the apartheid era in South Africa. He was one of the first visual artists to confront the injustices of the apartheid system through his artwork. After immigrating to the U.S. in 1988, Stopforth returned to South Africa and produced a series of paintings in 2003 during an artist residency on Robben Island. Just off the coast of Cape Town, this island was where Nelson Mandela and other foes of the government were imprisoned. As the artist writes, "It may be the most significant historical site in South Africa as it paradoxically symbolizes the repressiveness of the apartheid state and the strength of those who opposed it."

Artist reception: May 11, 2012, 6 to 8 p.m.

A photo-ethnography exhibition by the Danish photographer Torben Eskerod and Princeton University Professor João Biehl with additional works by Princeton students from the Program in Global Health & Health Policy and the Health Grand Challenges Initiative.

Protest prints from a collective of Mexican artists.

A panel discussion, "Born in the Zocalo: Art and Protest in Oaxaca, Mexico" will be held in conjunction with the exhibition on Thursday, February 9, 2012 at 4:30 p.m. in Bowl 016, Robertson Hall, adjacent to the Gallery. A reception will immediately follow the talk at 6 p.m. in the Bernstein Gallery. Panelists include: Douglas Massey, Henry G. Bryant Professor of Sociology and Public Affairs, Princeton University; Kevin McCloskey, professor of communication design, Kutztown University of Pennsylvania; Stanley Katz, moderator, professor of public and international affairs and director of the Center for Arts and Cultural Policy Studies, Woodrow Wilson School, Princeton University. Both events are free and open to the public.

Ishq: Paintings by Siona Benjamin” combines new and older works by the Montclair , New Jersey based artist, Siona Benjamin. All of the paintings and installations on view deal with the artist’s fundamental concern for tolerance of diversity in our trans-cultural world. Issues of personal identity, gender and race are explored through the artist’s own perspective as a child who grew up in a Muslim and Hindu community while attending Catholic and Zoroastrian schools in suburban Bombay, now Mumbai , India.

An artist reception will be held on Thursday, November 3, 5 - 8 p.m.

Eve Ingalls uses the surface of the raw canvas as if it is the surface of the earth. Through her markings, layers of the imprint of humans and nature over time are revealed as traces or shadows. The edges of the drawings serve as the boundaries of an archaeological dig. Alongside the shards of pots and evocations of ancient burial grounds and shifting landscape through the ages, the modern world is presented too by scientific charts, graphs and maps. Thus, the edges of the canvas locate the viewer simultaneously in the past and in the present, and visually express, in the artist's own words, "a persistent palimpsest."

A panel discussion, "Architecture as Memorial" will be held in conjunction with the exhibition on October 18 at 4:30 p.m. in Bowl 016, Robertson Hall, adjacent to the Gallery. An artist reception will immediately follow the talk at 6 p.m. in the Bernstein Gallery. Panelists include: Lucia Allais, assistant professor of architecture, Princeton University; Joel Smith, curator of photography, Princeton University Art Museum; and Stanley Katz, moderator, professor of public and international affairs and director of the Center for Arts and Cultural Policy Studies, Woodrow Wilson School, Princeton University. Both events are free and open to the public.

The Bernstein Gallery is pleased to host Inside the Box, a show about using the box, breaking the box and boxing in. MOVIS members Rita Z. Asch, Berendina Buist, John Goodyear, Susan Hockaday, Marsha Levin-Rojer, Frank Magalhaes, Margaret Kennard Johnson, and guest artists, Hans Haacke and Martha Rosler, exhibit photography, mixed media and site-specific works whose connection to the box is nuanced and surprising.

Many of the artists have made site-specific works that directly relate to the specific architecture in the Bernstein Gallery. Playing with the geometry and scale of the box-like exhibition spaces, John Goodyear, Marsha-Levin Rojer, and Margaret Kennard Johnson use the architecture as a vehicle to express their ideas. The shape of the box is inherent in the work of Frank Magalhaes and Hans Haacke. For Berendina Buist, Susan Hockaday, Martha Rosler, and Rita Z. Asch, who presents a sound piece, the connection may seem less obvious. All of the work provokes layered interpretations, both playful and deadly serious.

Politics of Snow II is a series of sweeping views of majestic glaciers and mountains by Philadelphia artist, Diane Burko, who has spent most of her long and productive career creating landscapes in the tradition of the Hudson River School. But in this series, the paintings are not landscapes meant to transport viewers into a contemplative reverie on the sublime qualities of nature. If they are meant to do so, it is only temporary, because Burko's mission is to wake us out of that reverie and force us to bear witness to man's imprint on our natural world as it manifests itself in global warming.

A panel discussion will be held at the Woodrow Wilson School at 4:30 p.m. on Thursday, April 21, in Bowl 016, Robertson Hall. At 6 p.m., following the talk, there will be a public reception in the Bernstein Gallery. Panelists are: Diane Burko, artist; Adam Maloof, Assistant Professor of Geology, Department of Geosciences, Princeton University; Michael Oppenheimer, Albert G. Milbank Professor of Geosciences and International Affairs, Department of Geosciences and the Woodrow Wilson School, Princeton University. Stanley Katz, Professor of Public and International Affairs and Director of the Center for Arts and Cultural Policy Studies, Woodrow Wilson School, will moderate the panel.

Integrating art and social documentary, South African photographer Damien Schumann makes a powerful case for the role of the arts in restoring the human faces of global health. "Retrospect" explores how lives unfold for patients undergoing treatment for tuberculosis in one of Cape Town's most impoverished neighborhoods. The photographs are not only aesthetic objects. They capture the materiality of people lives and reveal the intensity of survival. Over a four-year period, Schumann produced annual portraits of people in their homes. Each participant contributed a hand written testimonial in their mother tongue reflecting on their social and medical realities. Harnessing art's potential for health activism, Schumann and his participants displayed their collaborative work in their own communities.

In the Bernstein Annex Gallery, Princeton students display photographs and found objects drawn from their global health internships and medical anthropology research. Their work reveals vulnerable populations and brings critical scrutiny to large-scale health interventions, asking how they affect not only patients, but also their families, medical workers, health systems and politics writ large. Together, these works prove the value of a people-centered approach to global health.

"Schools for the Colored" is a series of photographs by Wendel A. White which depict the buildings and landscapes of what were racially segregated schools at the southern boundaries of the northern United States. As a metaphor for their isolation within a larger educational system, White has separated the crisp, fully defined school buildings from their immediate environment by white washing the landscape in which the schools were situated. They appear to float within a veiled landscape.

An artist reception will be held on February 11, 5:30 - 7:30 p.m.

"Women" combines three series of work the artist, Judith K. Brodsky, completed over the last 20 years. The three series, "100 Million Women Are Missing", "Women, Love, and Philosophy", and "Memoir of an Assimilated Family" all focus on themes of race, culture and gender which have preoccupied the artist for her entire career. An artist reception will be held on December 10, 2010 from 5:30 - 7:30 p.m.

"Purple Hearts" is a series of portraits and interviews of wounded American soldiers who have returned from the Iraq war. Each portrait is accompanied by facts related to the injury, and a quote taken during an interview conducted by the photographer, Nina Berman. The photographs and interviews were taken across the country in the homes and backyards of soldiers, military hospitals and army bases. There will be an artist talk and panel discussion on Tuesday, November 16 from 4:30 - 6 p.m. in Bowl 016, lower level, Robertson Hall. A public reception will immediately follow at 6 p.m. in the Bernstein Gallery.

The Bernstein Gallery presents the digital works of Russian artists, Valera and Natasha Cherkashin. Project Global Underground is a shimmering, kaleidoscopic presentation of underground transportation systems around the globe, including New York City, Washington, DC, Beijing, Stockholm, Paris and Moscow. When the project is completed, thirty-three subway systems will be featured. While each metro system reflects the unique historic, cultural and technical attributes of the city which it serves, the overall impression is that of a global network of similar human endeavor that crosses social, political and geographic boundaries. There will be an artist talk and panel discussion on Tuesday, October 19 from 4:30 – 6 p.m., Aaron Burr Hall, Room 219, on the Princeton campus. A public reception will immediately follow at 6 p.m. in the Bernstein Gallery, lower level, Robertson Hall.

The art and poetry on display explores societal stereotyping of homeless women in Mercer County. The Bernstein Gallery is providing artists from ArtSpace at HomeFront with the opportunity to share their experiences of poverty and homelessness, and their reactions to how other people perceive them. On April 26 from 4:30 to 6 p.m. in Bowl 016 in Robertson Hall, there will be a panel discussion in conjunction with the exhibit whose focus will be societal stereotyping. A public reception will immediately follow the talk in the Bernstein Gallery.

With her latest series of mixed media works, Rhonda Wall continues to mine subject matter of great personal interest to her. The resulting compositions combine iconic imagery with wit, irony and decorative pattern to comment on deeply serious aspects of the world we live in. “As the World Turns Then & Now” turns an editorial eye to images of conflict in the Middle East which have flooded our media in the aftermath of 9/11. Combining found imagery and paint, Wall’s latest series confronts the viewer with both its formal rigor and its emotional punch. Emerging from the exhibition, one finds a narrative that reflects the Middle East as a seesaw, constantly shifting its balance between hope and peace, and despair and violence. No person or country gets off the hook in the blame game. There will be an artist reception open to the public on Friday, March 26, from 6 - 8 p.m.

This exhibition of 34 photographs by 19 members of the Pakistan Photographers Group (PPG) showcases images that reflect the rich texture, beauty and dignity of everyday life in Pakistan. The theme of The Other Pakistan appears timely since the international media have recently focused almost exclusively on a politically turbulent Pakistan, promoting stereotypical images of a violent country infected by fanaticism. At a closer look, however, the photographs exhibited here tell a different, multi-layered story of a complex country. Some images pay tribute to the past and dignify centuries-old traditions. Others depict contemporary scenes and in their unadorned ordinariness offer their own glimmers of dignity. Whatever the individual circumstance, the seesaw of daily life in modern Pakistan often seems buffered by the high spirits that Pakistan’s diverse communities exhibit during traditional festivals and by the astonishing beauty of much of Pakistan’s landscape.

Intended Consequences, photographs by Jonathan Torgovnik, is an powerful series of environmental portraits made in Rwanda of the women who were brutally raped during the genocide and the children they bore from their assailants. On October 28 from 4:30 to 6 p.m., there will be a panel discussion on the topic in Robertson Hall, Bowl 016. A public reception will follow the panel discussion in the Bernstein Gallery at 6 p.m.

The Bernstein Gallery presents a solo exhibition of paintings by Kate Javens from her renowned "Named For…" series. Many of these works come from her critically acclaimed show last year at the Blanden Art Museum in Fort Dodge, Iowa.

With what Picture magazine called "the grit of a true documentary photographer", Kyle Cassidy spent two years and 15,000 miles crisscrossing the country meeting American gun owners, photographing them in their homes and asking them all one question: “Why do you own a gun?” The Bernstein Gallery’s exhibition shows 37 photographs and interview quotes out of over 200, a collection that resulted in a book, Armed America: Portraits of Gun Owners in Their Homes, published by Krause books in 2007. This honest, sometimes quirky collection of images has been called "Riveting", by the Washington Post, "A fair picture of who owns guns" by Field and Stream, and won praise from outlets as diverse as WisconsinPublic Radio, the Library Journal, Penthouse, and Guns and Ammo.

Human trafficking is a global criminal enterprise affecting hundreds of thousands of men, women and children. It exists in every country and in many guises, fueled by extreme poverty, cultural norms that devalue and commodify women and children in particular, and also by a seemingly insatiable demand for exploitive sex and cheap labor. Kay Chernush's photographs are an attempt to put a human face on the statistics and headlines, to tell the stories of modern-day enslavement and the journey towards freedom. On February 24 from 4:30 to 6 p.m., there will be a panel discussion on the topic in Robertson Hall, Bowl 016.

Panelists are: Kay Chernush, Photographer; E. Benjamin Skinner, Fellow, Carr Center for Human Rights Policy, Kennedy School of Government, Harvard University; Kathy Maskell, U.S. Advocacy Director, Love146; Moderator, Stanley Katz, Professor of Public and International Affairs and Director of the Center for Arts and Cultural Policy Studies, Woodrow Wilson School. A public reception will follow the panel discussion in the Bernstein Gallery at 6 p.m.

The Bernstein Gallery is pleased to present “Imagined Landscapes”, photographs by Ernestine Ruben. The exhibition runs from December 15, 2008 through February 13, 2009. There will be a reception open to the public on December 19 from 6 to 8 pm. With this latest body of work on the Chinese landscape, Ruben continues to experiment with new concepts and techniques as they apply to the medium of photography.

The Woodrow Wilson School and the Educational Testing Service collaborate on a photo essay on achievement gaps in New Jersey’s 30 Abbott School Districts. The photography of Randall Hagadorn illustrates the continuing challenges we face to give every child an opportunity for an equal education.

Randall Hagadorn has been a professional photographer for over 40 years. His images have appeared in Time, Newsweek, the New York Times and the original Life magazine, as well as every major daily U.S. newspaper. Hagadorn has created photographs for more than 75 Fortune 500 Corporations and major foundations. His work received a Best in Show award from the New Jersey Press Association and a Bronze Anvil from The Public Relations Society of America, an annual award for the single outstanding special publication by a corporation or institution in America.

The Woodrow Wilson School will present a public panel discussion titled “The Promise of Abbott v. Burke" at 4:30 p.m. on Tuesday, November 4, in Bowl 016, Robertson Hall. The focus of the discussion will be on the implications of the New Jersey court decision on school funding. Panelists will include Thomas Corcoran, Visiting Lecturer of Public and International Affairs at the Woodrow Wilson School and Director of the Consortium for Policy Research in Education at Columbia University; Nathan Scovronick, Director of the Woodrow Wilson School’s Undergraduate Program and lecturer of public and international affairs; and Deborah Yaffe, journalist and the author of "Other People's Children: The Battle for Justice and Equality in New Jersey's Schools." Stanley Katz will moderate. A reception will immediately follow the discussion.

Daniel Heyman, painter and printmaker, has concentrated his art on making images about the conflict in Iraq, specifically the abuse and torture of innocent Iraqis at Abu Ghraib and other prisons. Recently, he has begun to listen to testimony from Iraqi victims of violence at the hands of Blackwater Security Guards in Baghdad on September 16, 2007. For this work, Heyman has traveled to Jordan and Turkey where he has been part of face to face interviews with over 25 former detainees, and over 10 Blackwater victims. During preliminary interviews with their American lawyers, Heyman sits in as a witness, making the portraits of the men while they give their testimony, incorporating that testimony directly into his artwork. When working on copper plates to produce the series of drypoint prints presented in the exhibition, Heyman must write the testimony backwards so it is legible when printed. Other than the addition of some simple color, the work is never touched after the interviews, to heighten the direct effect of being in the interview, bringing back to the United States each Iraqi victim's own words.

On view in the Bernstein Gallery are 8 drypoint prints from Heyman’s Abu Ghraib series on loan from the Princeton University Art Museum. These works are a museum gift of William J. Salman, Class of 1955. Also on view are 7 prints from the Blackwater series on loan from the artist.

Michael Kamber has been working as a photo-journalist in Iraq for the last several years, becoming chief photographer for the Baghdad Bureau of the New York Times in 2007. The emotionally charged photographs on view were taken when the photographer was on patrol with US soldiers. While Kamber was initially supportive of the invasion, he has watched what he describes as a “slow-motion descent into what I can only call madness.” On exhibition are seventeen 16 x 20 inch color photographs.

The Bernstein Gallery is pleased to present “Art of the Times (times four)”, a series of political works by four artists whose work has appeared in various publications including The New York Times, The Washington Post and The New Yorker Magazine. The Op-Ed drawings of Douglas Florian, Brad Holland, Frances Jetter and Mark Podwal begin during the Nixon era and Watergate, and continue right up through the current war in Iraq and Afghanistan. The exhibition will be on view from April 7 through August 31, 2008. An artist panel discussion will take place at 4:30 on Thursday, May 1 in Bowl 016 on the lower level of Robertson Hall, adjacent to the Bernstein Gallery. A reception will follow in the Gallery at 6 pm. The public is invited to both events. Gallery hours are 9 to 5 p.m., Monday through Friday.

The Bernstein Gallery is pleased to present “Looking at the Sequential Dialetic”, several pages from Michael LaRiccia's upcoming graphic novel, The Death of Black Mane and the Feared Self. The exhibition runs from February 25 through April 4, 2008 with a reception on February 29 from 6 to 8 p.m. to which the public is invited. Gallery hours are 9 to 5 p.m., Monday through Friday.

"Diminishing Returns" is a series on poverty across America by the master social photographer, Larry Fink. The recipient of two Guggenheim Fellowships as well as two NEA grants, he has had one man shows at the Museum of Modern Art, the Whitney Museum of Modern Art, the San Francisco Museum of Art, the Musee de la Lausanne Photographie in Belgium, and the Musee de l’Elysee in Switzerland, amongst others. He shows in galleries regularly in New York, Los Angeles, and Paris, France. In 2002, he received an honorary degree of Doctor of Fine Arts from the College for Creative Studies in Detroit, Michigan.

The Bernstein Gallery is pleased to present "Burmese Days", photographs by Mary Cross. The exhibition runs from December 3, 2007 through January 11, 2008 with a closing reception on January 11 from 5 to 7 p.m. to which the public is invited. The work on view is a continuation of Ms. Cross's continued photographic investigation into different cultures of the world.

Olivia Victoria Andrzejczak, 2007 graduate of Princeton University’s Woodrow Wilson School, guest curates this exhibition on the violent conflict in Chechnya which began in 1994. The large format photography is by Adam Borowski who was named the Honorary Polish Consul for the Chechen Republic of Ichkeria by President Abdul-Halim Sadulayev in 2006. Borowski is a veteran participant of the Polish Solidarity movement and regularly contributes to American radio broadcasts about his experiences. His photo-documentary work on Chechnya’s critical humanitarian situation has been shown in Warsaw, Copenhagen, London and Brussels.

Philani is a community-based child health and nutrition NGO operating in informal settlements outside Cape Town, South Africa. An estimated 750,000 people live in these areas in simple cement houses or make-shift dwellings made of corrugated iron, wood and plastics; many overcrowded and without water and sanitation. Since 1979, under the Founder and Medical Director, Dr. Ingrid le Roux, Philani has been working to alleviate these problems, assisting thousands of mothers, pregnant women and children through a network of community outreach workers and nutrition centers. Because a woman who is financially independent has a better chance of providing care for her children, an income-generating art and craft program is also an integral part of Philani’s efforts to help destitute families. The photographs were taken by the artist, Joan Needham, and the curator, Kate Somers, who spent the month of February, 2007 at Philani, teaching women from the community linoleum block printing. In addition to the photography, there will be on view linoleum block prints made by artists in the community. The combined photographs, artwork, and text tell the story of one health care model working in developing countries.

Princeton artist, Susan Hockaday, is a fine art photographer whose work focuses on the patterns and structures of the natural world. Recently, her work has delved more deeply into man made threats to the fragility of our natural world: the destruction of open space; the degradation of waterways; the flow of chemical pollutants across the landscape; etc. While her photographs of nature have not been manipulated themselves, many from her recent series have overlays of ink and other media to introduce the notions of invasion and encroachment. She shows with SOHO20 Gallery in NYC and her work is in the collection of the Princeton Art Museum, among others.

Poster art created by Israeli and Palestinian artists reveals and documents the issues central to the Middle East conflict. The posters represent a truly public art produced for the people, expressing sentiments and opinions for the purpose of inspiring and motivating. The posters in this exhibition, from the private collection of Dana Bartelt, include both award-winning images by internationally acclaimed artists as well as those which were previously forbidden to be printed. Some were mass produced while others are original paintings and drawings. All speak in their own visual and written languages and tell a story of struggle, survival, and the hope for lasting freedom and peace.

After Utopia is a series of visual investigations of the legacy of socialist cities. A familiar landscape emerges, from the Balkans to eastern Germany, the Baltic and central Asia: hundreds of thousands of prefabricated apartments and standardized concrete constructions housing millions of people. "After" appears tentative here: the materiality of socialism continues to shape the life of millions today as it did during the Cold War. Mehilli's exhibition includes a wall-size photo collage of recent urban transformations in Tirana, Albania, confronting recent changes in the physical environment of the city--illegal settlements, alterations, the municipality-sponsored coloring of the city--with the stubborn legacy of the material culture of socialism. Smaller works investigate particular urban moments: prefabricated housing; crumbling concrete; urban decay; war in Sarajevo; and post-socialist landscapes in Prague, Berlin, and the outskirts of Budapest. Mehilli is a PhD student in history at Princeton University.

Cathy Stein Greenblat, Professor Emerita of Sociology at Rutgers, has produced photo-essays on long term care and end of life care for the dependent elderly. Her largest project is ALIVE WITH ALZHEIMERS, which has resulted in a book published in 2004 by the University of Chicago Press, and a traveling exhibition. These pictures are positive images of the possibilities for better institutional health care for the elderly. The work ranges from facilities in California to Japan, a country she highlights for its enlightened approach to quality care for its aging population.

Photo-documentary work on drugs and addiction in the US. Through a fellowship after graduation from WWS, Robin visited drug reform agencies and community organizations in 25 states. The goal of his photo essay is to promote the treatment of substance abuse as a health problem rather than a criminal activity. In 2003, Robin showed his work in the Bernstein Gallery on AIDS in Cuba and Ghana. He is currently a second year medical student at University of Pennsylvania.

WOW! is the membership arm of World Neighbors, an international development organization that creates long-term change in remote communities in Asia, Africa and Latin America. Through membership fees, WOW! enhances World Neighbors efforts to empower women and their families so they can transform their own communities through access to education, health care, food production techniques and income generation activities. Representing women in World Neighbors programs, the WOW! Photo Exhibit reminds us that all women are powerful and that their strength, character and wisdom molds the future.

The story of 111 First Street, an old factory building in Jersey City, is the tension between 200 artists and a billionaire landlord. When it became clear that the artists would be forced to leave their homes and studio space, one of these artists, Edward Fausty, felt compelled to photograph the studios and public space in the building, to record the "fragile utopia" that had been his home and community. It is a classic story between speculative absentee landlords/developers and the local citizens impacted by their projects.