Set against the backdrop, then, of the civil rights movement and the all black show, public art by African American artists for a new high school in Bedford-Stuyvesant created a unique opportunity. Some of the artists viewed this as a chance to educate students and the community about African American history and to promote the value of education. Others saw it as a vehicle for bringing modern art without an ethnic tag to a community that rarely went to galleries or museums. Yet, despite the stylistic range and divergent purposes, all the artists, conscious of the fact that they were African American artists producing art for an African American audience,22 were searching for positive imagery.
In the bold Untitled, 1976, an abstract triptych Norman Lewis painted for Boys and Girls High School (his only public commission), Lewis insisted on the freedom of a black artist to be an artist first. He saw Modernist painting as a weapon to combat racial stereotypes, believing that art should express universal truths in a universal language of form, color, and line. Vincent Smith's mixed media panel series celebrate the neighborhood from a child's perspective and mix community elements with African motifs. In his three murals, Eldzier Cortor invented new allegories for art, music, and dance derived from African and African American sources (Fig. 7), while Camille Billops created in ceramic low-relief War of the Fives, 1975, a response to the Vietnam War, meant to be a "parody of nationalism,"23 that falls outside the debate of "blackstream" or "mainstream." Fern Stanford overlaid contour drawings of faces and hands on geometric forms in her pair of murals.