That the American bishops in the last thirty years have generally offered
few creative contributions to economic issues, as William McGurn observes («The Preacher and the Economist,» April), is true.
After all, at this point, the company, who promised free
creative reign to Lew and Locks for the project, and is sponsoring not only this year's, but the next
few biennials through 2021, should know what it signed up for — or at least the intentions of the biennial's youngest - ever curators, who were looking not to create extra work for the artists for the sake of a watered - down corporate sponsorship, but to instead give them a chance to expand their biennial
contributions and typical artistic practice, «as if their studio has expanded exponentially to the collaboration.»
Washington's National Museum of Women in the Arts, the source of a
few of these canvases, opened its doors in 1987; it remains the only major museum in the world solely dedicated to recognizing women's
creative contributions.