 AgitProp. Okay, so AgitProp, we got agitation, propaganda, into one word. Agitating is status quo, which I'm all for, and propaganda, which gets a bad rap. AgitProp is art and activism. AgitProp is ethics and aesthetics. It's a call to action, and it's a form of art making that is engaged vitally in lived experience. In the spirit of community, I invited the entire staff of the Elizabeth A. Sackler Center to participate. We chose five historical moments where we collected examples of AgitProp. Then we decided to invite 20 artists whose work we felt very strongly relates to the notion of AgitProp. That was the extent of our curating. After that, the curatorial reigns got handed over to the artists themselves. There's the first wave who nominated the second wave. And the second wave artist would select the third wave artist. Which is incredible because you never know what direction that can take. Oda Banga Jones and Associates invited me, and I invited Charita Town. I brought in an artist by the name of Jellily Attico. We brought Ivan Cash and his partner Andy Dow. Visual AIDS has been nominated by LJ, who's been nominated by Dyke Action. And for the first time, we're doing all female-oriented placemarks. They include condoms and lubricant and information on how to have safer sex. My piece is called Gellie Pride Flag. Gellie is a type of headscarf worn by Nigerian women. It was made while I was in Lagos, Nigeria, in protest of the anti-gay law that had been signed by the country at the time. The project that I have been working on is called the Care Force. It explores and bolsters America's fastest-growing workforce, which is caregivers. In Harlem, pawnbrokers hire guys with sandwich boards to go out on the corner and pass out flyers that say we buy golden diamonds. My sandwich boards and flyers say we promote knowledge and love. The piece that we have on view is a 100-pound bust of Edward Snowden. We install in Brooklyn to the top of a 9-foot pillar that's part of a monument to the Revolutionary War. Even after it was removed, it continued to take on a life of its own. Some of it by removing something doesn't remove it from the public consciousness. One of the most exciting things about the exhibition is the sheer multiplicity of voices involved. And I think the opportunity for anybody to come into the Brooklyn Museum and see people engaging with the world, trying to express and have voices in their own communities and beyond is important for art, our communities and our audience. I think we're living in a time of extreme tension. Artists who are in touch and sensitive to what's happening around them will find this form as a very valuable tool for speaking out.