Acknowledgments Claire Gilman
Working on this exhibition for the past four years has been a deeply enriching experience. I have learned not only about the fascinating figure that is Kahlil Gibran, but also, much about the global world in which he lived and worked, a world with complexities that seem both far away and ever relevant. In this endeavor, I had the assistance of many people to whom I owe immense gratitude. First, I must give huge thanks to the miraculous Anneka Lenssen— and to the equally miraculous Hannah Feldman for introducing me to her. Anneka’s expertise in the art of the Arab world was essential to the realization of this project, and I am so grateful to her for answering my questions with grace and patience as she helped us untangle Gibran’s prolific output and granted us essential insights into the Arabic language half of his career. Thanks also to the individuals and institutions who have lent not only their artworks but also their knowledge to this exhibition. Thanks above all to Joseph Geagea at the Gibran Khalil Gibran Museum. Joseph has been unfailingly generous and hospitable throughout this process, and I am in awe of his peerless knowledge on all things Gibran. He received me at the museum with enthusiasm and kindness, and it was a true privilege to see Gibran through his eyes. Thanks also to the entire team at the Telfair Museum— particularly Benjamin Simons, Executive Director and CEO; Crawford Alexander Man III, Director of Curatorial Affairs and Chief Curator; and Jennifer Levy, Chief Registrar—for their support of this project. I am also incredibly appreciative of the hard work of the team at Museo Soumaya—Ana Paula Robleda Betancourt, Communications; Maribel Avendaño Reyes, Control de Obra (Registrar); Virginia Gómez; Pablo Berrocal Navarro, Acervo y Fototeca (Document and Photo Archives); Alfonso Miranda Márquez, Director; and in
13