Jean Arp, also known as Hans Arp, was a German-French painter, sculptor, and poet. Whitney Museum of American Art, New York (organizer), A Forest of Signs: Art in the Crisis of Representation (traveled to: Museum of Contemporary Art, Los Angeles, September 4-November 17, 1989; Whitney Museum of American Art, December 15, 1989-January 12, 1990). Movement: The bands form lines along which the eye moves quickly. Contrast: Organic versus geometric, black versus white. Space: The black is seen as infinite space, but the vertical bands stops the eye from going back into it. The vertical bands appear to be behind the white and organic bands because they are interrupted and therefore perceived as overlapped. Kerber, Bernhard. Bestände Onnasch (text in German; includes artist’s statements). Bremen, Germany: Neues Museum Weserburg, 1992. A suite of lithographs by four artists from the Kalahari Desert in Southern Africa and four artists from the pueblos of New Mexico presents a colorful and varied interpretation of the idea of the roguish trickster, referencing a transformation process through the candor of the storytelling tradition. This cultural exchange brought artists together to share stories and make prints about the popular folkloric figure of the trickster. The project began with the participants sharing stories while traveling to New Mexico sites and returning to the Tamarind to work in collaboration with the institute’s master printers. This visual journey coincides with the Global DanceFest JourneysAFRICA. Deals in work by emerging artists and the fringe of contemporary culture. Being born with autism makes it difficult to interact with others or communicate verbally. It causes the affected person to be unaware of reacting in ways that others do not commonly react in society. Music therapy provided William a non-threatening environment in which to build relationships with peers, express himself verbally and nonverbally and learn to participate in socially acceptable ways. This was achieved through group therapy, as well as individualized sessions. Both forms were ideal for William, because individual lessons allowed him to learn at his own pace. These lessons were tailored to meet his needs. They helped him to learn to read music, follow a rhythm, and to respect the need to display the proper behavior in the proper situation. Small group therapy required him to learn to take turns and to be a focused member of a team. He had to use proper questions and verbal responses. He had to learn to be both leader and supportive member. This even carried over to life outside of The Music Settlement, as William auditioned for and earned a position on a regular team of drummers for his school. He was able to perform at the House of Blues in front of a large, noisy audience, with no problem. This was not something that he would have been able to withstand before his experiences in music therapy.