 Good evening, and thank you all for being here. My name is Katherine Morris. I'm the Sacro Family Curator of the Elizabeth A. Sacro Center for Feminist Art here at the Brooklyn Museum. And on behalf of our director, Anne Pasternak, and everyone at the museum, I'm delighted to welcome you to tonight's extraordinary program with Charles Gaines. You know, there are times when curating feels like a very solitary effort, and the end results can sometimes actually feel like a monologue. Well, I'm lucky enough to be standing here tonight to represent and thank dozens of people, perhaps hundreds of people, because the exhibition Agipropt is, above all, a dialogue, a conversation, or even more accurately, many, many conversations. In addition to being a project intended to trace examples of artists' work to instigate direct social and political change, it is also a project devoted to thinking about new ways to incorporate multiple and often complex voices into the curatorial process. The first steps in this process began with a dialogue between four colleagues from the Book of Museum's Sacro Center. Stephanie Weisberg, Saisha Grayson, Jess Wilcox, and myself. Agipropt moved from our collective thinking into a multi-phased experiment, which now, with tonight's celebration of the final edition to the show, includes, and we just did these metrics, 92 artists, 60 living, 32 deceased, and 41 collectives, all participating either in the exhibition or through its programs. And we are thrilled to be able to include tonight's performers in these numbers. There are artists representing at least 23 countries. We cover over 105 years of history, from 1911 to 2016. And in my opinion, most radically, the exhibition Agipropt reflects the work and priorities of 21 curators or curatorial partners, which I think is staggering, particularly given the relatively small space we're working with. So, on behalf of the original foursome, I would like to thank every one of these people. Many of you are here tonight for your contributions and your willingness to participate in this extreme curatorial experiment. I also need to thank Matthew Jakobowski, our chief curator, I mean, excuse me, our chief designer for his flexibility and humor in grappling with this complicated installation. Every preparator, art handler, registrar, and a conservator at this museum also deserves our thanks for marshaling so many elements into a complex show. In fact, every one of this museum deserves our thanks. And of course, we are also grateful to our generous donors. Thank you to the Emory Family Foundation, the Robert Roushberg Foundation, the Fund, the Andy Warhol Foundation for the Visual Arts, the Helene Zuckersehman Memorial Exhibition Fund, and of course, we thank Elizabeth Sackler for her ongoing vision and leadership. Now to celebrate. We are proud to mark the culmination of the installation of All Three Waves of Agiprop, with the performance by the renowned artist Charles Gaines, whose work explores the history of social justice in truly original terms. We are thrilled to have the extraordinary opportunity to present two works tonight, Sound Text and Excerpts from Manifestos, both arranged and conducted by Sean Griffin of Opera Provera. These original compositions evolve out of historical material from writings by Frederick Douglass to ballads from the French Revolution. I think we can add Frederick Douglass to the list of participating artists. Gaines' use of sound complicates and enriches in readings of some of the most pressing causes of the past century and reflects on their current urgency. Before I welcome and thank each of the participants who will be performing tonight, I'd like to ask you to please turn off cell phones, turn off all electronics. We ask no photography and no recording to disturb the performance. Thank you for that. So please help me welcome Charles Gaines, Sean Griffin, Alicia Hall Moran, Jeremiah Avaya, Pauline Kim Harris, Monica Davis, Ashae Gordon, Seth Parker Woods, David Friend, and Mia Theodorus. Thank you very much.