“In conclusion, as historians working in the field, we have to define not only what it is or was to be African-American, but what is art.  Choosing the methodology for this research is perhaps the most tedious aspect of collecting Black art of the 19^th and 20^th centuries or any art for that matter. Do we include the everyday tools of slaves on plantations, kitchen pottery baked by freemen and women in the North in the early and mid-1800s? Is there a place for hip-hop inspired art?  Where do portrayals of African-American identities fit in to the collection?  Do we collect only what is created by Blacks or do we include depictions of what is African-American?  These are all questions that must be asked and answered before stepping off of a ferry onto an island filled with Gullah history in South Carolina or an old tenement in New York City, or a rural farmhouse in Georgia.  To begin, you must begin with the answers.  Thank you.”

Thunderous applause followed Ashton Schwartz’s talk and within moments hands went up from eager and engrossed art history majors.  One after one, Ash listened attentively and answered with his typically exuberant, yet academic response. 

Bette was fascinated and raised her hand for a question.  She waited for the microphone to reach her and stood, taking it in her hand.  “Thank you.  Mr. Schwartz…?”

“Yes, Ms. Porter,” Ash said with a friendly smile.

Bette straightened her slacks and smiled nervously.  He had addressed her with ease. There was no hint of what they had once meant to each other or how their ending had left him in despair.  He was personable and waited with interest for her question.  

"I…I…uh…my—I’m wondering about collecting.  I understand your point about picking and choosing, but isn’t the point of collection to get it all, as much as you can, and find places for it, so that it isn’t destroyed or neglected?  Don’t you think it should be as all-encompassing as possible?"  

“Good question, Bette.  I would say that it might be a better use of one’s research time and field work to limit one’s subject of retrieval.  When it’s all-encompassing, you’re bound to miss something and where does that leave you?  You doubt yourself if you try to have it all because you know you can’t.”