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And so, the idea of art and language defines this exhibition. It is not by accident that we chose this as a theme for the exhibition. Since I became Director of Fisher we have made a concerted point of honoring language and art when they work together transformationally. We have acquired or been given pieces that integrate language and art, including objects by, for example, Sarah Lucas, Peter Shire, Jesús Lugo, and Demián Flores. This definitive characteristic looms large in USC’s museum, perhaps most lastingly in Jenny Holzer’s great garden and installation, Blacklist (see page 7). A tribute to the first amendment, Blacklist was inaugurated at Fisher in 1999 and affirms that USC is an institution where academic freedom will be zealously protected. Holzer succeeded in communicating this by recalling the shadow that hovered over our country during the McCarthy years. To quickly review the depth and breadth of Fisher’s commitment to the intersection of art and language, I would summon up Someday a series of paintings by Robert Farber, an artist we showed in 1998 who had recently died from AIDS. Someday combines images and quotations underlining the artist’s trenchant commentary on civilizations destroyed by death and disease. From the Black Plague to the AIDS epidemics, Farber chronicled his own end and a tragedy of our own time. Fisher’s haunting installation of Buzz Spector’s “Bibliography” displayed dozens of books carefully placed on a lectern that lined the gallery’s walls. Left open, a pair of eyeglasses on top of each book, the array suggested interrupted reading. In part two, Spector compiled a list of all the books, their titles written on the walls, that he believed were read in the life of one person—his late mother. “Denouncing Violence Against Women,” our collaboration with the Shoah Foundation and the Center for the Study of Political Graphics, combined pictorial exhortation and powerful words in posters aimed at calling attention to the decades long brutality against women the world over. Also of note, very recently at Fisher was Ofri Cnaani’s “Sota Project,” an immersive video installation based on a Talmudic text, exploring jealousy, betrayal, judgment, ritual humiliation, and ultimately death. On the other hand, Michael Mazur’s brilliant illustrations of Robert Pin-