This beautifully written study focuses on the life and public sculpture of Meta Warrick Fuller (1877odash;1968), one of the early twentieth century's few African American women artists. To understand Fuller's strategy for negotiating race, history, and visual representation, Renée Ater examines the artist's contributions to three early twentieth-century expositions: the Warwick Tableaux, a set of dioramas for the Jamestown Tercentennial Exposition (1907); Emancipation, a freestanding group for the National Emancipation Exposition (1913); and Ethiopia, the figure of a single female for the America's Making Exposition (1921). Ater argues that Fuller's efforts to represent black identity in art provide a window on the Progressive Era and its heated debates about race, national identity, and culture.
