The End of an Era

This month, March 2023, marks the end of an era. After 27 years building the Coors Western Art Exhibit & Sale, an exhibition under the auspices of the National Western Stock Show, several men on the Board of Directors at the Stock Show, none of whom collect art anymore (or ever did), have decided to eliminate my position as curator. 

Yes, you read that right: the Coors Show will no longer be an independently curated event. A committee will decide. 

The art, I have been told, will reflect them (white men) and their traditional values, whatever those are. 

Is the hair on the back of your neck standing up? Art + committee + traditional values…. Yeah, it hurts my heart, too. 


This is an old story. Art exhibition has great success; egotists take over after deciding they can do it better despite having no understanding of the art market; art show dies; no one cares.

It’s not just art shows either. Think of all those funky neighborhoods where artists lived and worked until someone thought it’d be really cool to buy up the shabby-chic (read: cheap) real estate and suddenly the neighborhood becomes a cookie-cutter version of every other formerly artsy outpost. Rents go through the roof and the artists can no longer afford to live and work there. Creativity grinds to a halt without artists and soon the cool neighborhood becomes another cliche. 

The Big Backlash​

When I told the Coors Show artists what was happening and that I wouldn’t be back, many  reached out in texts and emails expressing their anger and incredulity.

One conversation in particular set me back on my heels. Melanie Yazzie, master print maker and a university professor said that this kind of thing was happening all over academia.  

What we’re seeing across the country, she told me, is a backlash against the #MeToo movement. Out of fear, certain people are doing everything they can to maintain control. They’re deceitful, conniving, and ruthless.

As she talked, I flashed back on the years working in the National Western culture of good old boys and saw vividly the scene that decided my fate.

Minding My Manners

Last year, I and two other women filed a complaint against the CFO of the National Western for bullying, harassment and retaliation. The president of the National Western, which is the company I worked for as curator of the Coors Show, hired an outside firm to interview everyone and, well, cover their asses.

Well behaved women rarely make history.

Our intention in filing a complaint with the National Western was not to be litigious but to make the bully stop. 

What happened, however, was jaw-dropping. The man with the outside firm who conducted the study came back with his findings: the women were not credible; the man was. 

When my contract was up, I was offered a “constructive discharge,” i.e., a contract written to force me out. In the contract were two stipulations. One, that the National Western would select a committee to curate the show with me (that committee would then take over in a couple years, presumably, after I trained them), and two, because of my “problems” with the CFO, I was not allowed in the offices where he was–which are essential to doing my job.

The bully is protected. The bullied is shamed and fired.

Yes, this is still 2023. I just checked.

When Committees Tell Artists What to Make

There are numerous reasons why art by committee guarantees a weak, milquetoast exhibit and mediocre art. 

First is the committee itself. Who joins a curatorial committee? Often it’s collectors with a limited palette. They have, thus, a dog in the fight; their goal is to substantiate their own collection and stoke their egos. They often know enough about art to be dangerous. They purchase what they like, not what is artistically important. 

Next is the problem of casting off anything that offends anyone on the committee. When all the offensive work is removed, what’s left is safe, mediocre.

And then there’s the issue of censoring and silencing voices. Artists who need the show and rely on those sales will rein in any thoughts of pushing themes or style or subject matter. Safe gets you in; experimentation and expansion of ideas gets you kicked out. 

When Politics Trump Art

Throughout history, politicians and religious figures have imposed their will upon artists, writers, and philosophers. In 1633, Galileo was found guilty of heresy for saying the earth rotated around the sun, not the other way around. He lived the rest of his life under house arrest. By the way, it took the Catholic Church more than 300 years to admit they were wrong and clear Galileo of heresy. 

Oscar Wilde was convicted of gross indecency with men and jailed from 1895 to 1897. 

And then there were the artists in Europe in the 30s and 40s who had the audacity to make work that pushed forward the ideas of what art is and its purpose. When Hitler came to power, part of his hatred was turned on modern art and the “degenerate” artists who made such things. The only art permissible was that of bucolic countrysides or heroic images of beautiful Germanic people.

Stalin, too, mandated that art could only depict the communist party and people in a positive light. Art created during his reign was used as propaganda to convince citizens to fight for the motherland and that the conditions under which they lived were really not so bad. 

From where I’m standing, I see modernist structures, and the only hint of a classical building I can see is the top of the U.S. dome. That is not what our founders had in mind.

In 2020, then President Trump signed an executive order called, “Make Federal Buildings Beautiful Again.” This order, which has since been rescinded, put forth that all new federal buildings should be beautiful because the “modern” federal buildings, according to Trump, are “just plain ugly.”

Ah, hubris….

Forgetting we belong to each other

Western art is the ugly stepchild of the art world, with good reason. Traditional Western artists who strictly adhere to the genre are often white men who paint pictures of cowboys and Indians. These old tropes are not only derivative but reductive; they perpetuate prejudice and lies. As Dakota Hoska, the curator of Native American Art at the Denver Art Museum curator put it: “Why don’t they tell their own story?” 

My goal as a curator of “Western” art was to exhibit art pertaining to the Western U.S. that was relevant and vital and alive. Because we are a strong community of artists, the vast majority of whom want to create work now, not work that looks backwards.

Curating the Coors Show for nearly three decades was more than a job to me. It was a community of people who brought fresh ideas to the table, each and every year. We made something that challenged the common perspective but did it in a way that invited conversation. The show was, ultimately, a place where artists could be seen and have a voice. 

It’s bigger than a job. It’s bigger than sales. It’s about being part of this life. It’s being human and understanding the true meaning of what Mother Theresa diagnosed as the ills of this world when she said, “We have forgotten we belong to each other.” 

Blessings in Disguise

Recently, over lunch, I told a dear friend what happened. After listening patiently, he sat back, took a breath and said, “Congratulations!” 

He meant it. And though I wasn’t quite ready to look back and laugh, his comment did help me put things into perspective. 

After nearly three decades working to build something, it was time to move on. I would not have left had I not been pushed. 

And, so, what else is there to do but feel grateful, turn the page, and start anew.


Since posting this, I’ve been told that the people at National Western who did this–and signed the contract that fired me–are telling people my blog has “gross inaccuracies.” So, here’s what you need to decide for yourself….

1. Here’s the proposal I sent the CEO of the Stock Show: 2023 Curator Compensation Proposal.

2. Here’s a copy of the contract I was presented: NWSS Best and Final Curator Contract offer.

3. Check out the site Non Profit Light. They list earnings and salaries for the National Western Stock Show. Note that Paul Andrews is paid nearly half a million a year and that all but one of the directors are men. 

4. And here’s the ethical standard for non profit pertaining to paying commissions, which they call, “not appropriate.”

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Curator, writer, and strategist for artists and non-profits, Rose Fredrick has spent the last three decades producing exhibitions that have not only raised considerable funds for scholarships and education, but have also launched artists’ careers. Her writing has appeared in numerous publications and her essays and interviews have been used in workshops, college courses, and museum exhibitions. She has won the National Endowment for the Arts grant, Rock West Curator of the Year, Denver’s The Big Read, Best Multicultural Book from the New Mexico/Arizona Book Awards, and was a finalist for the Colorado Book Awards.

66 thoughts on “The End of an Era

  1. Rose, I am shocked and pissed–not sure which emotion is the strongest. This stuff never ends. I’ve lived a long life and seen these dynamics wane slightly then multiply over and over again. I have watched your time as curator with pleasure–you built a narrowly focused art show into an excellent, diverse exhibition that many looked forward to every year. It was a boon for western artists and for collectors who want more than traditional western art. There should be room for both, for those of us whose lives are very focused on the art world to celebrate the incredible breadth of artistic work being created in the West. I am completely confident that the future holds another exciting chapter for you–as someone once told me, you can’t see all the open doors until you step into the new room.

  2. Sheila Sears

    There are so many things that disturb me about this, Rose! But I think you are in a good place to get out with the values you brought to the show being eroded. Your work over these decades will never be forgotton!

  3. I couldn’t agree more with your thoughts, Rose. Congratulations is indeed in order! With your resilient creativity and your vision and network of like minded thinkers and artists, I can only imagine you as a Phoenix with a new project in her quill.
    Count me in, I am 100% about making meaningful art and I will join in from my perch over here on the other side of the mountains. Let me know when you touch down.

  4. It sounds lie you are very hurt by this, Rose, but not knowing the full history and story of your situation, I can’t comment on the events that led to you’re being let go. However, I don’t see the committee approach quite the same way you do. A curator is never totally impartial. While a curator brings expertise and relationships with artists to the table, the selected artists are nevertheless based on the curator’s aesthetic and concept of what constitutes “western art.” Depending on the composition of the “committee” which seems unknown at this point, couldn’t the jury process be eclectic and interesting? It does seem like a “door opening” and may give you the opportunity to explore unknown territory with your skill set. I wish you luck!

    • After working in non-profits and on shows for more than 30 years, I believe committees have a role but that one person ultimately needs to lead. Consider a jury of your peers; a foreman is always selected. I have been a juror for many shows and do that task with a select and small committee of people in the art world–not random business men and women off the streets. For my entire tenure, I did have an advisory committee who were vital to me when it came to selecting art and artists. My job was never a dictatorship and I didn’t make choices based on my personal taste; I looked for the best and for artists who were completely unknown but who I thought had a lot of promise. Here’s the important piece of this puzzle: I knew that when things went wrong, I needed to step up and take the blame, which I always did. So, I hear what you’re saying but you are making some big assumptions about this committee, primarily, that they will have any understanding of art in the first place.

  5. Jane Kemp

    Thanks for the enlightening and well written piece. I’m so sorry to learn about this. Transition is hard but I know you will find your way and continue to make a difference. Hang in there old friend!

  6. Holy Crap! I am disgusted, angry, disappointed, but not surprised. My world overlapped a bit with the livestock world (I worked with CCALT and I showed yaks at NWSS). I knew I was an outlier in that crowd, and that my progressive views were semi-tolerated at best. Still, this is 2023, as you pointed out. Have we made no progress as humans?

    The Coors Western Show was worth seeing every year because of your curatorial efforts. The quality was very high even though much of the subject matter was pedestrian. I could at least look at the artist’s skills in execution. And every year there were a few gems that you seem to have snuck in. Artists who pushed beyond the boot-and-fencepost genre or at least treated it with fresh eyes. We always looked forward to seeing the show.

    I doubt we will be returning to NWSS. I cannot imaging that the committee will be able to put together a credible show. There will be the old guard artists showing for a few years, but I expect the overall quality will diminish.

    I agree with your friend that this is a great opportunity. When I read your letter, part of me was saying “Cool, let’s see what Rose does without handcuffs”. I believe you will be on to bigger and better things.

    I wish you the best of luck and look forward to what you will do in the future.

    Grant Pound

  7. Hi Rose,
    You may not remember me. We met on Madeleine Island at a painting workshop some years ago. I remember being inspired and impressed by your ideas and suggestions for artists. It felt all the more impactful coming from a woman in this male dominated field. Today you are inspiring me all over again with your courage. I wish you the best of luck on this next chapter. Stay strong – I am rooting for you!

    • Hi, Lynn-I do remember you and that wonderful week on Madeline Island. Thank you for reminding me where we met and for your kind words. I truly appreciate it. Stay tuned–I’ve got some great things in the works…

  8. Jasmine Hawkins

    “My attitude was always if it’s real, it can take the pressure. You don’t have to pussy foot around the real thing. If they’re telling you that you must lower your voice and avert your gaze, then you’re probably in the presence of crap; because the real thing is real. It doesn’t demand that you adjust your opinion to suit it. It’s real… Create your own roadshow… You want to reclaim your mind and get it out of the hands of the cultural engineers who want to turn you into a half-baked moron consuming all this trash that’s being manufactured out of the bones of a dying world.”

    -Terence McKenna

    Thank you, Rose, for keeping it real.

  9. Kristi Martens

    Dear Rose
    You definitely done good, embrace the wonderful times & people & artists that you created. I’m not surprised at the old boys . Tia a shame for the artists. I’m sure someone would love to host a new show. Give them hell & please don’t work for them anymore.
    Highest blessings & resolve & wishes

  10. Dear Rose,

    I think it’s now time for you to start your own exhibition, instead of chafing at the bit. Isn’t it something you’ve always wanted to do anyway? Build it and we will come. We’ll even help if you want the help.


  11. I’m excited to see where your next adventure lands you. You have a strong, fiery spirit with a good eye for art and people. You’re also a gifted storyteller. It’s not an easy skill to master, but you’re a natural. -Megan Morgan

  12. Rose you Rebel! I have admired your artistic vision these many years not just for your knowledge and appreciation but for the strength and courage of each of your presentations. I so look forward to the new adventures offered from your heart. The possibilities are intriguing

    • Thanks, Pati! I am starting to shake off the anger and look to the future. As a friend said, holding on to resentment is like taking poison hoping the other person dies. So, no more poison…

  13. Patrick Michael

    Rose, You’re a wise woman for not participating in the co-curating modality…. even for an hour. Not so much due to the difficulties “committees” bring to the process. For example: Inevitably, there will be that one member who took ONE art history class in college AND has been associated with the other members for years. Influence can override scholarship. Rather, this shift is a harbinger for the, now, ill-fated Coors Western Art Exhibition and Sale. The last thing you want to be a member of is the governing body responsible for the desecration of your creation.

    If I have correctly interpreted the direction that the committee will engage in, that being paintings and bronzes of yester-century’s cowboys/Indians as well as highly illustrative “ranch” scenes, that is NOT fine art, let alone art. It is the domain of the illustrator. Illustrators are not “artists” nor does having the deftness to draw every miniscule detail have bearing on value. I, for one, would not be advocating for this art form, it’s perfunctory, ubiquitous, ridgid, conceptually vacant, historically meaningless, overvalued etc. Frankly, it’s rubbish, future landfill fodder.

    At times it can be difficult to effectively communicate the distinction between fine art and illustration. However, if a person inquires as to the difference, and possesses a modicum of art intellect, I like to answer with the following: “Illustration answers the question, art asks the question”.

    So, the Coors Western Art Exhibit and Sale will become a spoon feeding of answers vs a respectful challenge to think? This is not you!

    • Well, said, Patrick. So many talented illustrators struggle to find their voice in fine art; it’s just not easy to be purely creative, without leaning on old tropes. I know I couldn’t do it, which is why I don’t paint. I really do admire artists who put everything on the line for their art. I think, at the end of the day, there are people who don’t want to be challenged by art. The sad thing is, the artist didn’t set out to challenge them; the artist was trying to express an idea or thought no matter who liked it or even cared. You’re very right, I can’t be part of that censoring of voices any longer. Thanks for reading!

  14. Hi Rose..boy, is that tacky, so sad that is still going on, not surprising, but I think your friend who congratulated you, hit the right tone and attitude and I am sure you will land on your feet and do some great things for Artists and the Art world! I pretty much left the “Western Art” scene some years ago..I am still a little bit a part of it, but I was discouraged by the mostly conservative thinking stringing through it. Saw too much of the more creative and different Art not selling. I wanted to do other subjects and go in another direction and so I have, but have run into some serious health issues that have marginalized my life and also my work.
    I have applied to the Coors show a few years ago and always got rejected and finally was told that I was close and to make sure I submitted the next year and due to my health issues I wasn’t able to, I was thinking of trying this year, but with this news..I am not inspired too. This is getting to be too much about me and so let’s leave it for now.
    When you get settled in with a new show or gallery, I hope you can let some of us know about it and maybe have a chance again to be in such an inspiring and forward looking exhibition.
    Like you said..these kind of things are happening all over..we all need encouragement and courage to go have already showed those traits and I think you will be just fine. All my best, Ned

    • Thanks, Ned. Always good to hear from you. I hope you are able to paint. I know you’ve been through a lot the last few years. You’ve been on my mind. Take good care and let’s catch up some time soon.

  15. Although I have never been in the Coors show I have been in western art shows and I am one that has experienced harassment from men. One in particular
    He got very nasty because I refused to back down. I proved him wrong and he did not like that I had the emails from him that proved that he was lying. It did not matter. I was silenced and blackballed. It left a very bad taste in my mouth and now I’m very wary of it people in the art world. I have also been sexually harassed by men in the art world. It is sad that we have to be so protective. I am very sorry you have experience this and I applaud you for speaking out

  16. Oh, Rose. Reading this sickened me. Most women western artists have experienced exclusion from the “boys’ club” of Western Art to varying degrees, but for this to come after your stellar track record of curating this event is rotten. I appreciate you for letting us know the circumstances and I’m sure this respected show will suffer greatly from your absence. I also hope the fellas get what they deserve.

    • Oh, yes, it is a boy’s club and that is what keeps art created in the West on the lower rungs of the art world. We can’t change that attitude unless we move forward with new work and new ideas. This is, I am certain, a blessing in disguise.

  17. Rose I’m so sorry to hear this. It’s so disappointing that this kind of thing still goes on. I could be really angry at all you’ve related, but I choose instead to be excited for you for what your next chapter will bring. I can’t wait to see. Keep me in the loop!

  18. Michael Paglia

    Very well said Rose, your piece really resonated with me, not just because I sympathize with you on a personal level, but also because what you have to say is so true. As art has become “cool”, people that can’t even spell the word “art” have gotten themselves into positions of power–like those board members you’ve had to deal with. I’m so sorry about this undeniable loss to the community of artists and viewers of the NW exhibit.

    • Thank you, Michael. That means a lot. And you’re so very right about people who can’t even spell “art.” A friend just mentioned the book about the Sackler’s and how they bought their way into the art world as a cover for their illicit business dealings. The art world is rife with nefarious opportunities, it seems.

  19. Thank you for your candidness. Backlash to #metoo makes unfortunate sense. At my kids school, the head of the school- a female educator- who has been there for 3 years is quitting because the (white male) CEO of the Montessori School franchise has now moved an educator out of her regional managers position and moved in a Starbucks manager who does not care about kids and sees them as money. She said she just can’t do it anymore. I admire you so very much. I am honestly really excited for you! Can’t wait to what you’re going to do next! But seriously, this sucks, and you deserved better. I’m sorry this has happened. You are amazing.

    • It’s frustrating that the only way to be heard is to walk away. Thank you for sharing that story. I suppose we have to keep sharing these stories and keep talking and trying, otherwise it really does drag you down.

  20. Rose, I heard about this from a mutual friend and was angry and saddened for you. You made that into a fabulous show! They are so full of themselves that they cannot see what you created! The clients will notice, and will hopefully say something. The only way that this s**t will quit happening is by shining light on it and shouting out the truth.

    Those sorry white men were intimidated by your power and skill, and just couldnt’ take it! Thanks for being an Art Super-Woman and shining a very bright light on this ugliness! You have made a huge difference in the lives of so many people, artists, collectors and countless people who were exposed to really good art.

    I hope you have forward looking plans that will make your heart sing, and your wallet bulge!

    • Thank you, Jane. I think you’re right, we have to shine a light on this kind of crap. It’s the only way I know how to not feel powerless against them. And for them to see what they’ve done, though I’m not sure they will care.

  21. Shelley Schreiber

    I’m sorry to hear you were treated this way. Many of us have been in a position where we are undervalued, overworked and not respected for our knowledge and expertise by a “superior” who holds the purse strings and the power and thus take advantage of passionate professionals that need to earn a living. It’s not a good feeling at all and I’m not sure how we move forward in the world to remedy that attitude and stance, but your efforts were a start.
    It will be painful for a while, but you will surely be happier with your next gig, as your reputation, knowledge and expertise will precede you and be appreciated.
    Wishing you the best.

    • Sometimes it feels like shouting into the void, but it was helpful just to write it down and put it out into the world. And who knows, maybe change will find the fools holding the pursestrings…

  22. It is so strange I am reading this on April Fools Day. Supremely ironic that someone has decided that even the Coors Exhibit is too unconventional, as I’ve always been impatient for even more of the “cowboys and Indians” to be excised. You have been a cheerful, patient collaborator with those Good Old Boys, and they will soon see the limited results of staying inside their bubble. So sorry to hear this news Rose, but very glad you decided to share the story.

    • Thanks, Karen. The more time and distance I gain on this whole thing, the more relief I feel to be away from it all. And, who knows, maybe speaking out will have some impact on that bizarre world–the bubble–they live in.

  23. Your talents will serve another community. We met years ago during a curator talk you gave and at NWSS. You’ve left an indelible mark among artists and collectors, facilitated a needed shift in art curation, and helped redefine western art. Thank you for investing yourself for so many years. I’m appreciative of your time, talents, and commitment.

    Something wonderful is coming.

  24. June K Mills

    Although I am a complete stranger, reading your narrative is deeply upsetting. I can’t fathom the thought that any experienced, well-respected professional would receive this kind of treatment. It makes my blood boil. I applaud you for blowing the whistle, even if it didn’t change the culture of abuse. I do wonder how the Coors family feels about having their name associated with such backward attitudes and blatant cronyism. Best wishes to you as you dust yourself off and chart a new course.

    • Thank you, June. It is rather astounding and at the same time, not. As for the Coors family, I don’t really know. I did call Pete Coors when all this was happening; he’d always been so kind and complimentary of my work over the years and he was a good collector. Unfortunately, his response was that he wasn’t involved in the decision but the he was sure I’d land on my feet. And then he said something so very odd. He said, “I know you will do the right thing.” I’m guessing his notion of the “right thing” is vastly different from mine, which is, blow the f’ing whistle. So, no, Pete Coors only cared about protecting the boys.

  25. Wow, I am so shocked and saddened by this. I attended the Coors Show every year during the Stock Show and I always was so impressed by the show and the art that you curated. I was so impressed that year after year you could put together such a wonderful wide-ranging show. I was actually going to submit my own artwork this year, but not now. I can just imagine what the show will be like next year. How sad. Good luck to you. I hope our paths cross again very soon. I know you considerable talents will be welcomed in many other venues and galleries.

    • Thank you, Reen. You’re work would have been great in the show, too, but not in their new direction. I too hope our paths cross again–I’m sure they will. Until then, take good care.

  26. Rose, I’m sure this was frustrating, heartbreaking, and just downright enraging to experience. Discrimination and gate keeping is not as often recognized in the art world by larger news reports, but like with any creative community it is still alive and does only a disservice to it’s community. I am thankful that you wrote about your experience. As a person of recognition, your words have weight and validity. I know you will go on empowering others in the creative community and continue encouraging diversity in the art world.

  27. Lynn Noonan

    Hi Rose,

    I’ve been thinking about this all weekend and the idea that you AND TWO OTHER WOMEN filed the complaint is where I get stuck. It’s like a record scratching in my brain. How many bullied women does it take before someone reigns in the man?

    I’ve always been impressed with your show and how you’ve grown it from a table top in the corner to the massive fundraiser it was this year. I actually remember thinking you were crazy for trying to build it in the first place then a few years later being so impressed with your vision.

    I’ve learned so much about art from your tours, comments and explanations of why you chose specific pieces. It’s knowledge that’s helped me be a better designer. I can remember so many specific pieces from years and years of different shows.

    I can’t wait to see the shows you put together without limits!

    • Geez, Lynn, I wish I knew the answer. It’s so backwards. In hindsight, it was a big hill to climb. I’m proud of the show but wouldn’t do it again. On a happier note, I am excited about what I’ve got in the works. I’ll keep you posted,

  28. Hi Rose,

    Thank you for sharing this so eloquently. It is appalling and so short sighted, or more accurately, blind. I appreciate the integrity of your work and look forward to what you do next.

  29. Barbara Preskorn

    Dear Rose, as a retire college instructor who taught humanities and art courses, I am reminded of the split away from Academy Solans in France when E. Manet formed the Solan of the Refused mid 1800’s in Paris. He and his compatriots were to lead the way into Modernism and multiple “isms.” Of course the old Academy reminded through the decades while the world of color, light, abstractions and socially aware arts overtook their importance not just in France, but throughout the world. Sometimes we have to burst open the old standards and let in the néw concepts! Blessings for all of your former achievements and for those marvelous endeavors you initiate for the arts in Colorado and elsewhere.

  30. Sabrina Stiles

    Dear Rose,
    I’ve just read your heartbreaking though not surprising newsletter. You did an amazing job curating a show that exposed so many of us to an impressive diversity of artistic talent. I’m sure your next venture will be just as amazing! Colorado needs a show of the caliber you brought to us.
    Thank you for all you’ve done and I’m hopeful will continue to provide to the artistic community.

  31. Martine Minnis

    Rose, I had no idea that you were no longer at the NWSS Art Room until I went to the Round Up Riders of the Rockies ladies’ luncheon last week and hear about it. To say that I was shocked would be an understatement. I started as a volunteer the second year it was open. Ann was the curator. Gwen was in charge of volunteers. Gwen was a member of the Arapahoe Hunt. Most of the volunteers were either
    hunt members, or part of Pony Club (the kids’ prehunt riding skills
    club). I was part of Pony Club. You were doing a fabulous job. The art you selected was amazing and more interesting every year. The tours you gave were full of ideas that came from unique areas! I know you will create a new wonderful career. But I am very sad for the Art Room. What were they thinking upstairs?

    • Hi, Martine. It was quite a shock for me as well. We did a lot of great stuff together, though, didn’t we? Please stay in touch, you and the other volunteers are family; we’ve been through a lot together. Big hugs, Rose

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